INE GDINA DD OTC EINE MAG AG 
FROM 9 A. M. UNTIL 6 P. M. 


Piaget NEW AMERICAN ART GALLERIES 
EU ERNIED 


BLOCK OF MADISON AVENUE, 56TH TO 57TH STREET, NEW YORK 
ENTRANCE, 30 EAST 57TH STREET 


BEGINNING SATURDAY, DECEMBER 30TH, 1922 
AND CONTINUING UNTIL THE DAY OF THE SALE 


THE PRIVATE COLLECTION 


OF THE CONNOISSEUR 


MR. MEYER GOODFRIEND 


NEW YORK— PARIS 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


IN THE ASSEMBLY HALL 
OF THE NEW AMERICAN ART GALLERIES 
peereeee e  NE AINE EOA LEER TBO 
ON THE 


EVENINGS OF THURSDAY AND FRIDAY 
JANUARY 4TH anp 5TH 


BEGINNING EACH EVENING AT 8.30 O°CLOCK 


ILLUSTRATED CATALOGUE 


OF THE 


VALUABLE PICTURES 


AY 


THE BARBIZON MASTERS 


THEIR CONTEMPORARIES 
THE FRENCH IMPRESSIONISTS 
AND 


MODERN FRENCH PAINTERS 


FORMING THE PRIVATE COLLECTION 
OF THE CONNOISSEUR 


MR. MEYER GOODFRIEND 
NEW YORK—PARIS 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
IN THE ASSEMBLY HALL 


OF 


THE AMERICAN ART GALLERIES 


ON THE EVENINGS HEREIN STATED LA 3 U| 2. 
_{" > he 


LU 8Y4SUG 
THE SALE TO BE CONDUCTED BY 


MR. THOMAS E. KIRBY 


AND HIS ASSOCIATES, MR. OTTO BERNET AND MR, HIRAM H, PARKE, OF 


THE AMERICAN ART ASSOCIATION, Manacers 
ENTRANCE, 30 EAST 57rH STREET 
NEW YORK 
1923 


THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 

cal. (8.0) EXT AND LY POGRAPHY 


INTRODUCTORY 


Mr. Goodfriend, the collector and owner of these pictures, would 
need no introduction in the business world in which he moves. Nor is 
he unknown in the art circles of Paris. He was born in New York 
within a few blocks of his present place of business in Fifth Avenue 
when—and it was not so long ago, as many readers not yet accepted 
as oldsters can testify and will readily recall—elements of the pas- 
toral life within the city were still near neighbors of that now cosmo- 
politan thoroughfare. He is a merchant of pearls and precious stones 
in New York, with an office in Paris. For thirty years he has been 
visiting France in the course of his business, and for his own personal 
delight has been buying pictures. It is not his boast, but his temperate 
admission, that he has seen, and within limits studied, all the Salon 
exhibitions from 1892 to date, with the exceptions of those of 1894 
and 1895. But his collection is not a collection of “Salon” paintings ; 
far from it, happily. 

In early life he felt what is now called the “urge” to be an artist, 
but turned from it and gave his eye for color to gems, without aban- 
doning the love for art. A room of his office suite in Paris has at 
times been given over to an artist to exhibit his works. At one time 
in the course of his collecting Mr. Goodfriend had the idea that he 
might form a collection with the definite motive of presenting it to an 
American museum, ultimately, but the complex reasons for and against 
that object determined him otherwise. He bought to please himself, 
esthetically, and as time went on with a due consideration of the intel- 
ligent standards of art. 

In the meantime he went methodically and persistently to the 
museums of France, Belgium, Holland, Germany, Austria, Italy and 
England and studied their canvases. When he told me of it I was re- 
minded of two of the veritable experts in art that Europe has sent us: 
one, expert in paintings, who had followed the same course; one (still 
living) of a broader expert experience, who frankly declared that thus 
visiting the museums was the only way to expert knowledge. 


THE CoLLEcTION 


The collection of Mr. Goodfriend will speak for itself—it has 
already appealed to writers abroad, as will be seen later—and the fore- 
going personal notes have been set down merely because it may be 


frankly acknowledged his name has not been widely known as an art 
collector of New York. It will become so known to those who visit 
the exhibition of this collection, irrespective of the monetary value at 
which the veritable masterpieces, as well as the “studio delights,” of 
the collection may be appraised at public competition. Official recog- 
nition of the sincerity of contents of the collection may perhaps be in- 
dicated by citing a letter of July 13 last, from the Curator of the 
Museum of Decorative Arts, Paris, written from the Musée des Arts 
Décoratifs, Palais du Louvre, Pavillon de Marsans. It says: 

Dear Mr. Gooprrtenp: As the Second Empire Exposition, organized under my 
care at the Museum of Decorative Arts, is about to close, I take it upon myself to 
express to you our thanks, as well in my name as in that of our President, M. Fran- 
cois Carnot, for the part that you have taken in confiding to us masterpieces of 
French painting of that epoch. 

The two sketches by Puvis de Chavannes which you entrusted to us are among 
the most beautiful of that master. 

(Signed) The Curator of the Museum, 
L. Merman. 

The pictures of the collection are modern—of the nineteenth and 
twentieth centuries—Barbizon painters and their contemporaries, im- 
pressionists and others of the third quarter of the nineteenth century, 
and a few of the newer men of the present (none of the “wild men”)— 
these are the painters represented, painters and poets. 

An article on a portion of the collection as exhibited at the 
Georges Petit Galleries, Paris, written by M. Roger-Miles, art critic, 
of Le Figaro, appears later on, and with the enthusiasm permitted 
writers in France records some of the effects produced upon the writer 
by some of the Goodfriend canvases. M. Roger-Miles did not see a 
Corot which was not then exhibited but is now in New York, an “In- 
> or expatiation would not have been denied; for 
in luminosity and charm it is compelling, at the same time that it 


térieur de bergerie,’ 


is uncommon as a production of Corot’s brush and as an example of 
the range of his work. 

Of Vollon’s work there is in particular one of his wonderful still 
lifes that seems to say all that paint can say on canvas in the elo- 
quence of its rich surface beauty. A Courbet presentation of the old 
mill near his native village is a remarkably fine example of this master. 
The sobriety of Ribot, the dramatic qualities of Isabey and the serious 
workmanship of Stevens claimed the collector’s attention, not to the 
exclusion of the chromatic affluence of Renoir in paint and of Lhermitte 
in his aerial pastels. A small but highly typical sketch by Henner was 
given by him to his friend and teacher, Ernest Hébert. 

Manet appears in a noteworthy canvas and also in an unusual 
water color; Millet, in a portrait of a friend and pupil which has been 
held in the family ; the Daumieresque Forain, in a figure group. René 


Ménard is here and Gaston La Touche, and Charles Cottet, man of 
many museums in Europe and North and South America; also Al- 
phonse Etienne Dinet, of many awards and Hors Concours at the 
Salon, and Lucien Simon, who presents a Breton interior with figures. 

Other artists not mentioned in Mr. Miles’ review—he saw only the 
portion of the collection exhibited at the Petit Galleries at the time— 
include some of the less known and the newer or more modern men, 
for whom in the course of his evolution as a collector Mr. Goodfriend 
developed a strong predilection, among them Albert Lebourg, about 
whom and whose work a book with reproductions is in preparation, 
with a sketch written by M. Léonce Bénédite, director of the Luxem- 
bourg Museum. His ‘‘Meuse a Dordrecht,” a sympathetic rendering 
of the river and the famous old church in a fog, is a veritable joy in 
paint. Also, Alexandre Jacob, “Painter of Winter,” whose works 
have been purchased by the City of Paris and by the State, some from 
the Salon des Artistes Indépendants. 

Another is Paul Renaudot, who died last year, after suffering in 
service in the World War, who was a fellow student with Matisse at 
the Ecole des Beaux Arts and who is represented in the Luxembourg 
and other French museums. An incident not without its personal inter- 
est links him with America. His father, a French sculptor in Italy, 
was the inseparable friend of Henri Regnault when the latter, as Prix 
de Rome winner, was at the Villa Médicis. Regnault’s model for his 
famous “Salomé,” now in the Metropolitan Museum of Art in New 
York, was the Italian maiden, then at the age of sixteen, who was to 
become the wife of the sculptor and the mother of the painter 
Renaudot. 

Cézanne and Gauguin are here—and there needs no mention 
beyond their names to indicate the further ranges of the collector’s 
spirit—but there remains to be said a word about two later painters 
of whom Mr. Goodfriend is very fond, so much so that he shows them 
in numerous examples; while he acknowledges the partiality of friend- 
ship, he is supported in recognition of their art by publications in 
Paris which speak of it with enthusiasm—Francois Charles Cachoud 
and Elie Anatole Pavil. Cachoud, a poet-artist, a dream-painter of 
moonlight, with actualities of mundane detail which are startling with- 
out disturbing the poesy, has been seen here; Pavil is a new-comer. 

Pavil, who was born in Russia (Odessa), is a French painter, a 
painter especially of Montmartre, its types, its life, its varied physical 
characteristics. Perhaps, to be brief, there might be quoted what 
amounts to a peroration in an article entitled “The Joy of the Eyes” 
by a writer in Clemenceau’s newspaper L’Homme Enchainé, as showing 
the reactions in at least one Frenchman’s mind to the work of Pavil: 


“Whether he expends with prodigality and an infinite languor all 
the wealth of his palette on the corners of Montmartre, where his feel- 
ings lead him in the leisure hours of twilight; whether he interprets in 
an admirable variety of tones the poetry that rises to his lips when to 
his eyes appears the provoking magic of the western skies; whether he 
evokes in furiously animated and brutal studies the passion of human 
beings in the smoking-bars or the dancing-halls—always lights burst 
forth and vibrate with intensity, as if to throw in spite of everything an 
enchanting gleam of the ideal before the blurred eyes of men.” 


Dana H. Carrout.. 
New York, November, 1922. 


LA COLLECTION MEYER-GOODFRIEND 
By Rocer-Mizes 
(Translation) 


Do you recall the aphorism of Jules Janin [Jules Gabriel’ Janin, 
1804-1874; French critic] in his “Petits Souvenirs”? He said, speak- 
ing of the way artists were encouraged in the sixteenth century: “To 
buy a picture from a painter is paying a national debt.” 

That is indeed a pleasant prescription, and we should be happy if 
things were done that way. But not all amateurs are of the same mind, 
and it is necessary to classify them. Aside from him who requires the 
great orchestra of fame there is the amateur who quietly seeks out the 
artists whose talent moves him, there is the one whose choice falls only 
on certain names and certain works, and there is the one, of a select 
company, who, closing his door to importunities and indiscretions, 
knows the adorable pleasure of resting his eyes upon works he loves. 

It is to such an amateur that the aphorism of Jules Janin applies, 
and when we look upon the chefs-d’euvre of which we are about to 
speak we say without hesitation that M. Goodfriend is that amateur. 

His collection? He formed it not only to please the eye, but also 
with a definite aim: he wished by the assembling of masterpieces which 
are in fact an eloquent exaltation of nature in her varying aspects to 
show the effort of the French School of 1830—or better, the Barbizon 
School—and the effort of the School of 1863, called Impressionist ; 
he wished to mark the point of connection between those whose evolution 


was toward light and those whose evolution created itself by light. He 
told me this himself one day when we met at an exhibition before some 
canvases of which he had a refined comprehension. But he stopped at 
the threshold of neo-impressionism. 

Corot certainly had the love of this amateur; he alone occupies 


more than a third of the whole assemblage—and how Corot merits the 
favor! Corot whose soul was enthralled by the sweetness of morning 
lights, of which thought evoked idyllic dreams. * * * Nature 
showed herself to him not as an open book of figures and statistics, but 
as a mistress ever admirably young and beautiful and ever worthy of 
admiration. . . . Let us stop before the works of Corot which 
Monsieur Goodfriend was so fortunate as to collect. 

“Te marais” (“The Marsh’’), a peerless picture in which Corot re- 
membered the Italian picturesque. At the foot of a hill crowned with 
buildings the thickly grass-covered ground is marked here and there 
by narrow ponds. On the right a clump of trees seems to spring up 
from the rocks. On the left in the background a small tower sets up 
its gray shape against the blue sky in which bright clouds are passing. 
This picture is simply a delight. 

“Le gros arbre dominant la vallée aux environs de Boissy Saint 
Léger” (“Big Tree above the Valley in the Neighborhood of Boissy 
Saint Leger’). On the left of the tree two countrywomen have 
stopped, and they stand out in the atmosphere with such precision that 
they seem two living flowers under the vast sky of white clouds and 
azure. 

*‘La forét de Coubron—Les ramasseuses de bois” (“Wood Gatherers 
in Coubron Forest”). * * * Another marvel which explains 
Corot’s great renown. And again, “Le paturage sur le plateau en 
Picardie” (Pasture on a Picardy Plateau’), “La barque” (“The 
Barge”), “Le gros arbre au bord de létang” (“Big Tree by the 
Pond”’),—a page of poetry and of splendor. 

Daubigny figures here with two works, ‘‘Les laveuses au bord de 
VOise” (“Washerwomen on the Bank of the Oise”) and “Les bords 
de la Seine a Partijoie” (‘Banks of the Seine at Partijoie’’). 


And the transparent shadow of evening (in the latter) glides on whe 
delightful spot lke a song of peace after the hard toil of the day. 

Daubigny does not aim only at sensibility and poetry, but in his 
pictures the tones of sky, earth and water are in such accord that one 
truly has nature under one’s eyes. * * * We recollect the master 
wearing his velvet cap, sitting in his boat in the middle of the river, 
calm in appearance but raptured within with meditation; he listened 
to the stillness full of whispers. 

Beside Daubigny who sings in minor like a violin behold Troyon, 
full of robust strength, who fixes the most clamorous flourishes of light. 
From him, we salute “Les trois vaches dans un paysage” (“The Three 
Cows in a Landscape’”’) with a marvelous effect of light on the red cow 
while the white cow beside her remains in the shadow. Everything in 
the picture brings out the powerful throb of country life during the 


summer months. Note “La rentrée du troupeau, le soir” (“The Return 
of the Cattle—Evening”’) and “tLe troupeau au paturage” (“The Herd 
in the Pasture”). 'Troyon conceived and interpreted animals outside 
all conventions of his time. He differentiated races, understood in- 
stinct ; he wrote, so to speak, the animal psychology. 

None knew better how to make us interested in those silent beings 
whose life is so intimately bound to ours . . . showing them 
more patient than unconscious with their servitude. 

Diaz tells us of a sunset in Fontainebleau forest, ‘‘La mare dans 
la clairiére” (“The Pond in the Glade’). Jules Dupré takes us to the 
same forest in “Paturage dans une clairiére.” Dupré sought all his life 
to represent the drama of nature which is played above our heads in 
the sky and gives to the site below a special effect. Corot, who used 
to like to visit Dupré at Isle-Adam, said with exactness that he was 
the Beethoven of landscape. 

The collection includes two admirable pictures akin to the 1830 
school, Boudin’s “Laveuses dans le port de Trouville” (“Washerwomen 
in Trouville Harbor”) and Jongkind’s “Le fort Rabot et P’Isére aux 
environs de Grenoble” (“Fort Rabot and the Isere near Grenoble”). 
Boudin—his delicate and sincere intimacy, his exquisite daintiness of 
shades, the penetrating charm of his chromatism, which is that of the 
true colorist, these are the qualities that carry a name through the 
ages. Jongkind paints with an impulsive power that is a true delight. 
Goncourt said in 1882: ‘One thing strikes me at the Salon, the influence 
of Jongkind—every landscape of value at this time proceeds from that 
painter.” 

The second part of the collection includes works by Sisley, Monet, 
Pissarro, Raffaéli, Henri Martin, Besnard and Lebasque, which seem 
to indicate that the amateur has found in these great artists the con- 
necting link between the School of 1830 and the school called so 
absurdly Impressionist—as if the object of the art of painting were 
not precisely to note impressions. 

I must confess that in my opinion Sisley is the best poet among 
the painters of his school, and the best painter of those who pretend 
to stand as poets of that school. * * * He could remain a painter 
with no exaggeration of sentiment and yet full of emotion. The three 
remarkable pictures belonging to the Goodfriend collection prove that 
his highly gifted soul and upright conscience rebelled stoutly against 
easy work and common expression. 

By Monet the amateur possesses a masterpiece, “Le pont du 
chemin de fer 4 Argenteuil” (“The Railroad Bridge at Argenteuil”). 
What Monet paints is not only spots of nature but moments of nature. 
By Pissarro we find here three first-class pictures, “Le troupeau de mou- 


tons dans un champ aprés la moisson,” “Le pont sur la riviére 4 Osny” 
and “Le moulin de Knocke” (“Sheep in a Field after Harvest,” ‘The 
Bridge at Osny” and the “Mill at Knocke’’). 

Pissarro, too, studied the sky in connection with the fleeting hours, 
and he tells us his vision with a delightful ingenuousness. A country- 
side under his brush takes an expression of truth all his own; he makes 
us believe that he understood it as a countryman. Country life in- 
volved in the endless course of seasons uplifted his soul with an emotion 
of kindness and beauty, and if sometimes he discovered in nature an 
atmosphere of sadness it is because there are moments when nature is 
enticed to the sweetness of tears. 

By Raffaélli, “L’arbre au Cap Martin” (“A Tree at Cape Mar- 
tin”). Raffaélli invented a word to express his art, caractérisme, and 
he remained faithful to that characterism during all his splendid 
career. He has been a painter of grayish suburbs, but he has also been 


a painter of large sea spaces and great sky screens—against which he 
set up here the magnificent and desolate figure of the tree. He revealed 
the soul of landscape. 

By Henri Martin, painter of mural decorations but also turning 
to easel pictures, the delightful “‘Pont de Saint Médard” (“Saint 
Medard Bridge’ )—imparting to us the lively song of ight on running 
water. 

Finally, I have now to speak of the figures by Besnard and Le- 
basque—by the former, “Fragilité” (“Fragility”), by the latter, “Sous 
Vombrelle” (“Under the Sunshade’) and ‘Femmes travaillant dans un 
parce au bord de la mer” (“Ladies Working in a Park by-the Sea”). A 
young and playful girl is holding in her hand a cup, of Venetian glass ; 
a nervous movement—and the cup will fall to pieces. And so it is with 
life. Besnard with such simple elements conceived and produced a 
masterpiece of daintiness and color. 

Lebasque is one of the latest comers among the painters whom 
success has rewarded. He does not seek his subjects for the difficulty 
of finding out their concealed meaning. What he wants is simple ideas 
borrowed from life that permit him a song of colors—a fine display of 
living flowers in the open air and the striking oppositions of sunlight, 
with the sunlight the irresistible mettewr en scéne (“scene-man”’). L.e- 
basque is one of our best painters, and his boldness is simply a delight. 

But I must stop. I have said enough about this remarkable col- 
lection of works, before which anyone with the sense of art cannot help 
being moved. 

RoceEr-Mites. 


EXTRACTS FROM AN ARTICLE ON THE COLLECTION 
GOODFRIEND 


By Lovis VauxcELLE 


“.. . If one throws a glance upon the romanticists, the landscapists 
of Barbizon, the naturalists, the impressionists—that is to say, upon 
Delacroix, Corot, Millet, Courbet, Manet, Cézanne, Pissarro, Renoir, 
Puvis de Chavannes, Paul Gauguin—and these are the names, with 
those of Cazin and Lebourg, that you encounter at every page of the 
catalogue of the Goodfriend Collection—one remarks that these 
authors, whose works to-day bring large prices, were persecuted by 
their comrades, by criticism, by the great public—that in their home 
environment they had but a limited support of the elect. 


“|. . The impressionists have superior representation in Mr. Good- 
friend’s collection. Manet triumphsin the water color‘l’? Amazone’ and the 
‘Femme indienne fumant la Cigarette’ (from the Degas Collection) . . . ; 
Gauguin in the famous ‘Bonjour, Monsieur Gauguin,’ and a landscape 
of Pont Aven. In the ‘Bonjour,’ reminiescent of an illustrious work by 
Courbet, you see the painter wrapped in a cloak, advancing toward 
a young peasant woman. The Breton scene is of a touching softness. 
“*. . . May I not, while writing of these two pictures, recall the emo- 
tion experienced by all the artists when we saw them (before their 
departure for America) on the wall of the Galerie Barbazanges at 
Paris, among thirty then unknown paintings by Gauguin? One can 
then comprehend the place occupied in the history of art by the master 
of Pont Aven and of Tahiti. 


“*. . . One can, then, to sum up, consider the collection of Mr. Good- 
friend as highly representative of the directing tendencies of contempo- 
raneous art in France in the nineteenth century from Corot to Cézanne. 
And diverse as the works may be, they signify nevertheless the unity 
and the excellence of the independent school. . . .” 


CONDITIONS OF SALE 


_ 1. Rejection of bids: Any bid which is not commensurate with the value of the 
article offered or which is merely a nominal or fractional advance may be rejected by the 
auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 

II. The buyer: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

III. Identification and part payment by buyer: The name of the buyer of each lot 
shall be given immediately on the sale thereof, and when so required, each buyer shall 
sign a card giving the lot number, amount for which sold, and his or her name and 
address. 

Payment at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so purchased 
may at the option of the auctioneer be put up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, 
and thereafter neither the consignor nor the Association is responsible for the loss or 
any damage to any article occasioned by theft, fire, breakage or any other cause. 

V. Delivery of purchases: Delivery of any purchases will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made at the place of sale or at the storage warehouse to which 
purchases may have been removed. 

Deliveries at the American Art Galleries will be made only between the hours of 
9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries 
will be made—between the hours of 9 A. M. and 5 P. M. 

Deliveries at places of sale other than the American Art Galleries will be made 
only during the forenoon following the day of sale unless by special notice or arrange- 
ment to the contrary. 

Deliveries at the storage warehouse to which goods may have been sent will be made 
on any day other than holidays between the hours of 9 and 5. 

Deliveries of any purchases of small articles likely to be lost or mislaid may be 
made at the discretion of the auctioneer during the session of the sale at which they 
were sold. 

VI. Storage in default of prompt payment and calling for goods: Articles not paid 
for in full and either not called for by the purchaser or delivered upon his or her order 
by noon of the day following that of the sale will be turned over by the Association to 
some carter to be carried to and stored in some warehouse until the time of the delivery 
therefrom to the purchaser, and the cost of such cartage and storage will be charged 
against the purchaser and the risk of loss or damage occasioned by such removal or 
storage will be upon the purchaser. 

NOTE: The Limited space of the Delivery Rooms of the Association 
makes the above requirements necessary, and it is not alone for the 
benefit of the Association, but also for that of its patrons, whose goods 
Ahad would have to be so crowded as to be subject to damage 
and loss. 

VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which 
the Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility for 
employing at current and reasonable rates carriers and packers; doing so, however, 
without any assumption of responsibility on its part for the acts and charges of the 
parties engaged for such service. 

VIII. Guaranty: The Association exercises great care to catalogue every lot cor- 
rectly and endeavors therein and also at the actual time of sale to point out any error, 
defect or imperfection, but guaranty is not made either by the owner or the Association 
of the correctness of the description, genuineness, authenticity or condition of any lot 
and no sale will be set aside on account of any incorrectness, error of cataloguing or 
imperfection not noted or pointed out. Every lot is sold ‘fas is” and without recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may thereafter 
sell the lot as catalogued or make mention of the opinion of such expert, who thereby 
will become responsible for such damage as might result were his opinion without 
foundation. ; 

IX. Buying on order: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph or telephone will be faithfully 
attended to without charge or commission. Any purchases so made will be subject to 
the foregoing conditions of sale except that, in the event of a purchase of a lot of one 
or more books by or for a purchaser who has not through himself or his agent been 
present at the exhibition or sale, the Association will permit such lot to be returned within 
ten days from the date of sale and the purchase money will be refunded if the lot 
in any manner differs from its catalogue description. q 

Orders for execution by the Association should be written and given with such 
plainness as to leave no room for misunderstanding. Not only should the lot number 
be given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is unknown to the 
Association, a deposit should be sent or references submitted. Shipping directions should 
also be given. 

Priced Catalogues: Priced copies of the catalogue or any session thereof, will be 
furnished by the Association at charges commensurate with the duties involved in copying 
the necessary information from the records of the Association. 


AMERICAN ART ASSOCIATION, 
New American Art Galleries, 
Block of Madison Avenue, 56th to 57th Street, 
Entrance, 30 Hast 57th Street, 
New York City. 


INTELLIGENT APPRAISALS 


FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 
AND 


CATALOGUES OF PRIVATE COLLECTIONS 


APPRAISALS AND CATALOGUES. Together with the increase in 
its exhibition and sales rooms, the American Art Association will expand its 
service of furnishing appraisements, under expert direction, of art and literary 
property, jewelry and all personal effects, in the settlement of estates, for in- 
heritance tax, insurance and other purposes. It is prepared also to supplement 
this work by making catalogues of the contents of homes or of entire estates, such 
catalogues to be modelled after the finely and intelligently produced catalogues 
of the Association’s own Sales. 


The Association will furnish at request the names of many Trust and Insur- 
ance Companies, Executors, Administrators, Trustees, Attorneys and private 
individuals for whom the Association has made appraisements which have not only 
been entirely satisfactory to them, but have been accepted by the United States 
Revenue Department, State Comptroller and others in interest. 


THE AMERICAN ART ASSOCIATION 
AT ITS 


NEW AMERICAN ART GALLERIES 
THE BLOCK OF MADISON AVENUE, 56TH To 57rH STREET 


ENTRANCE, 30 EAST 57TH STREET 
NEW YORK CITY 


CATALOGUE 


FIRST EVENING’S SALE 


THURSDAY, JANUARY 4, 1923 


IN THE ASSEMBLY HALL 
OF 
THE AMERICAN ART GALLERIES 
BEGINNING AT 8.30 O'CLOCK 


Catalogue Numbers 1 to 61, inclusive 


THe AMERICAN ART ASSOCIATION 
MANAGERS 


SALE AT THE AMERICAN ART GALLERIES 
VA eee PICTURES OF THE FRENCH SCHOOLS 


Collection of 
MR. MEYER GOODFRIEND 


Evenings of January 4 and 5, 1923 


To save time and to prevent mistakes each Purchaser will 
oblige the Managers by filling in this slip and handing it 
to the Record Clerk or Sales Attendant on making the first 
purchase. 


Purchaser’s Name ; 2 Ne 


Address in Full 


Amount of Deposit 


ALEXANDER THEODOR WEBER 
GERMAN: 1838— 


1_MARINE 
(Panel) 
Height, 74% inches; length, 10% inches 
Tue spectator looks straight down the entrance of a made harbor 
to the green open sea; jetties at right and left, and a white lighthouse 
at the jetty’s end on the left. The tide is low, and in the foreground 
and middle distance at right and left boats are lying on the gray 


sands, and sail are visible in the distance. At the horizon a summer 
haze, and in the blue sky creamy and grayish clouds. 


Signed at the lower left, TH. WerseEr. 


Purchased from Tedesco fréres, Paris. 


JEAN BERTHOLD JONGKIND 
Dutrcu: 1819—1891 


2—PAY SAGE: ENVIRONS COTE ST. ANDRE 
(Water Color) 
Height, 714 inches; length, 1244 inches 
On the left a cream-white and grayish cottage with its tiled roof rust- 
colored and gray, and darkened by persistent vegetation, and before 
it a peasant figure with an expansive shoulder-burden, trudging toward 


the spectator. To right a varied landscape, green and whitish and 
gray, and near the foreground the cottage well. 


Signed at the lower left, 15 Mars, Jonexrinp. 
From Michel Collection, Paris. 


Purchased from Tedesco fréres, Paris. 


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3 £90 


JEAN BAPTISTE CAMILLE COROT 
Frencu: 1796—1875 


83—“VUE DOLORON” 


(Canvas mounted on panel) 


Height, 9 inches; length, 15 inches dy x 0 


A Pyrenean landscape, with the mountains dim in the distance under 
a white sky, and in a sunny middle-distance valley of deep green grass, 
numerous houses and buildings of classical suggestion, and here and 
there tree-clumps, deep green, as seen partly against the light. A gray 
stream crosses the picture, and at its edge in the foreground a woman 
is walking. 

Signed at the lower left, Coror. 
From Arnold & Tripp, London. 


Purchased from the Galerie Allard, Paris. 


LOUIS EUGENE BOUDIN 
Frencu: 1824—1898 


4—“LAVEUSES DANS LE 
PORT DE TROUVILLE 


(Panel) 
Height, 914 mches; length, 13 inches 


In the foreground several women on their knees and facing the spec- 
tator, busily washing linen at the border of the water, and in the 
middle distance other women similarly engaged and equally industrious, 
with their backs to the spectator, at the edge of another arm of the 
water. Beyond them some boats hauled out, and low buildings on the 
sandy and grassy and treeless dunes. 


Signed at the lower right, EK. Bounty, 796. 


Purchased from the Georges Petit Galleries, Paris. 


CHARLES FRANCOIS DAUBIGNY 


Frencu: 1819—1878 


5—PAY SAGE: PRINTEMPS fp ves 
(Panel) 


Height, 6 inches; length, 111% inches 


Spring in the fulness of its verdure, a landscape of greens both deep 
and fresh, with hints of the brown earth in a field road and small hill- 
side outcroppings. Green hills, green fields and green trees, at left 
and right, under a sky whose white clouds almost conceal its blue. 


Signed at the lower left, Dausicny. 
From the Marcel Sauwvaige Collection. 


Purchased from the Galerie Allard, Paris. 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


6-—CH ATE AU-THIERRY 


Height, 7 inches; length, 13 inches 14, 3% £ 
Yoo 


BETWEEN low green banks a silvery-gray stream traverses the picture 
from left to right, a confluent emerging from a wooded background and 
joining it near the left, where a house is seen. Other houses appear 
in the distance on the right, beyond fields where farmers are at work, 
while on the hither bank in the foreground are two fishermen at the 


water’s edge. 
Signed at the lower left, Coror. 


From the Stevens Collection, Brussels. 


Purchased from the Galerie Allard, Paris. 


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NARCISSE VIRGILE DIAZ DE LA PENA 


Frencu: 1808—1876 


7—MARE DANS LA FORET 
(Panel) 
Height, 434 inches; length, 814 inches 


Roveu plains of an open forest stretch afar under a blue sky filled 
with banks and billows of white and smoky clouds. Low trees are 
seen at intervals, notably three short and bushy ones near the centre 
of the landscape, which cast their reflections from the bright sky for- 
ward upon the water of a rambling pool. On the hither side of the 
stream, in the deep grass of the foreground, a red doe is lying down, 
with head erect, and near by a stag appears. 


Signed at the lower left, Dtaz, 757. 
Collection Montgermont, Paris. 


Collection Comtesse de Béarn, Paris. 
From the Galeries Georges Petit. 


Purchased from the Galeries Simonson. 


NARCISSE VIRGILE DIAZ DE LA PENA 


Frencu: 1808—1876 


8—PAYSAGEH AVEC MOUTONS ET BERGER 


(Panel) 
Height, 64% inches; length, 914 inches 


SUNSHINE on a day of midsummer with creamy-white vaporous clouds 
mounting from the horizon, and tenuous gray shower-clouds drifting 
away above them in a blue sky. Yellow-green grassy fields of a level 
land, and beyond a meadow pool in the foreground an aged shepherd 
and his dog, looking toward the flock of sheep grazing at a little dis- 
tance in the balmy air; and beyond them a clump of trees, with sun- 
shine in their leafage and shadows at their base. 


Signed at the lower right, N. Diaz, 64. 


Purchased from Tedesco fréres, Paris. 


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JEAN BERTHOLD JONGKIND 
; Durcn: 1819—1891 


9—BATEAU AMARRE 


Height, 141% inches; width, 9 inches 


Tue afterglow of a softly golden sunset below mackerel clouds in a 
turquoise sky; in light silhouette a church tower and thick green trees 
on the farther bank of a Dutch river or canal, and the masts and one 
sail of a heavy Dutch working boat moored against the bank. On the 
ruffled surface of the stream reflections of the sky lights, and to left 
in the foreground a man poling his way ashore in a punt. | 


Signed at the lower right, Jonexinp, 61. 


Collection St. Albin, Paris. 


Purchased from the Galerie Allard, Paris. 


NARCISSE VIRGILE DIAZ DE LA PENA 
Frencu: 1808—1876 


10—BOHEMIENS 
(Panel) 


Height, 1584 inches; width, 94% inches 


Beneatu the shade of a bifurcate tree, members of a gipsy family are 
standing, a young mother facing the spectator as she looks upon a 
sturdy infant held in her arms, a man equally interested in the child 
looking at it across her shoulder, and back of the mother a young 
girl- whose interest wanders. They are in garments low yet rich in 
tone, and flashes of sunlight accentuate the figures of mother and babe 
and glint through distant rifts of foliage. 


Signed at the lower left, N. Draz, 748. 
Collection of Baron Schickler, Paris. 
Purchased from the Galerie Allard, Paris. 


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#975 


CHARLES FRANCOIS DAUBIGNY 
Frencu: 1819—1878 


11—ENTREE DE VILLAGE 
(Panel) 
Height, 934 inches; length, 12% inches 


Unper a blue sky with a light veiling of clouds, a green hill rising from 
the left circles forward on the right and in the foreground exhibits 
huge broken and purple-gray rocks. Within the sunlit elbow of the 
encircling hill a sunny and creamy roadway passes along a gray village 
wall on the left, to an entrance gate where trees shelter a modest cot- 
tage. Peasantry, women and children, enliven the scene at their tasks 
and sports, and sheep are seen near the rocks. 


Signed at the lower right, Daunteny. 
From Boussod, Valadon et Cie. 


Purchased from Tedesco fréres, Paris. 


CHARLES FRANCOIS DAUBIGNY 
Frencu: 1819—1878 


12—LISIERE DE FORET 
(Panel) V4 TLS 


Height, 7% inches; length, 10 inches 


Art right the border of a forest of slender trees, and bordering the 
wood a field road along which in the middle distance a peasant girl is 
walking. At the left rough fields and green herbage, and in the distance 
a river and bridge and a thatched farmhouse, the whole in a soft light 
under a sky of grayish tonality, and in an air balmy and sweet. 


Signed at the lower right, Daunieny. 
Collection Clapisson, Paris. 


Purchased from Tedesco fréres, Paris. 


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JULES DUPRE 
Frencu: 1812—1889 


13—VACHES A L-ABREUVOIR 
(Panel) 
Height, 1134 inches; length, 15% inches 


Wirurn encircling knolls which are threaded by gentle hollows and 
suggested ravines lies a pond, its still surface a mirror of the greens 
of the surrounding grasses and trees, of the autumn colorings of sec- 
tions of the plenteous leafage, and of the warm coats of cows that 
are standing in the cool water. Sunshine from the left floods the 
farther foliage and verdure on the right, makes foliar lacework of the 
leafage in partial shadow, and in reflection from the greenish-turquoise 
sky dapples the surface of the pond with silvery lights. 


Signed at the lower right, JuLes Dupre. 
From the Galeries Georges Petit, Paris. 


Purchased from Tedesco fréres, Paris. 


JEAN BERTHOLD JONGKIND 
Dutcu: 1819—1891 


14—ENVIRONS DE ROTTERDAM fo eer 
Height, 934 inches; length, 1234 inches 


In the brilliant and diffused light of a low sun all but concealed in 
nebulous masses of light creamy clouds in a bluish sky, green and flat 
and sandy fields of Holland spread afar; in the distance a wind- 
mill is visible. Nearer at hand a horse and cattle are seen, and trees 
near a group of farm buildings, and an abandoned small boat hauled 
ashore from the verge of a foreground inlet. 


Signed at the lower right, Jonextnp, 1868. 
Jongkind Sale, Paris, 1891. 
Herz Collection, Paris, 1907. 
Purchased from the Galerie Allard, Paris. 


ALFRED STEVENS 
Beucian: 1828—1906 


15—LA LISEUSE ROSE 


(Panel) 
Height, 1034 inches; width, 81% inches 


Iw a flounced and spreading gown of palest old-rose lightening with 


reflections to a soft pinkish-buff, a young woman with an abundance 
of blond hair dressed behind her shoulders is seated at the end of a 
sofa, leaning lightly on its arm, her hands loosely clasped in her lap. 
She is observed nearly at full length, figure slightly to left, and face 
in profile to left, as she reads or leisurely examines some pages lying 
on a table beside a brilliant vase of flowers. 


Signed at the upper right, AS (monogram). 
Collection Dutoict, Brussels. 


Purchased from the Galerie Allard, Paris. 


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AUGUSTIN THEODULE RIBOT 
Frencu: 1823—1891 


16—LE DEJEUNER DU CUISINIER 4 YS 
Height, 18 inches; width, 15 inches 


Tue cook at his breakfast, a youngish man in white blouse and apron 
and cap, and dark trousers, with bare feet thrust into kick-slippers. 
seeks to make friends with the haughty and somewhat sceptical gray 
cat, tendering it an offering from his dish of wufs sur le plat. The 
group in a full but bland light against a sombre background. Beside 
the cook’s bench his brown cruchon and a partly emptied glass of red 
wine. 

Signed at the lower right, A. Risot, 1862. 


Purchased from the Galerie Allard, Paris. 


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LOUIS EUGENE BOUDIN 


Frencu: 1824—1898 


17—LE PORT DU HAVRE 

Height, 15 inches; length, 21% inches 
Mornine light in a slightly creamy sky, in which the fleecy cloud 
patches are bluish to the spectator’s eye, comes over the ruffled harbor 
waters and pitches them in a silvery key. The waters fill the fore- 
ground, and extend back to a low bluish shore; buoys mark them, and 


early-bestirring mariners are active in their small-boats, while in-shore 
at left and right are moored square-riggers with canvas furled. 


Signed at the lower right, E. Bovnry. 
Collection of J. A. Fernandez of Buenos Aires. 


Purchased from the Galerie Allard, Paris. 


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ELIE ANATOLE PAVIL 
Frencu: 1875— 


18—LA RUE LEPIC, PLACE BLANCHE, A PLUIE 
(MonTMARTRE) 


Height, 15 inches; length, 1814, inches 


Creamy buildings on the left at the border of a place, and extending 
down the street to the distance, and on the right of the street other 
varied buildings and tall blue roofs. The sky is lightening on a showery 
day, and its light glistens on the pavement of street and square, which 
are filled with hastening pedestrians dimly seen in the mist. 


Signed at the lower right, Exuie Pavit. 


Purchased from the Artist direct. 


JEAN BERTHOLD JONGKIND 


Dutrcu: 1819—1891 


19—LE FORT RABOT AU BORD DE 


4 
a LISERE, ENVIRONS DE GRENOBLE 


Height, 13 inches; length, 2214 inches 


Tue Alpine heights are white in the distance under a cream-veiled blue 
sky, and a bright morning light illumines the fortification on the left, 
the blue river softened and brightened with the cloud and mountain-top 
reflections, and the tree-lined quai on the right, where some men are 
seen. In the stream a raft of logs. 


Signed at the lower right, Joncxinp, 1885; inscribed at 
the lower left, GRENOBLE, 2 Jury, 1885. 


Purchased from the Georges Petit Galleries, Paris. 


JEAN BERTHOLD JONGKIND 
Dutcu: 1819—1891 


20—LES QUAIS DE LA SEINE BUS 
Height, 13% inches; length, 1734 inches 


In the foreground at left a creamy sandy bank topped by a few dwarf 
trees, and figures seated on the slope or engaged in loading a barge. 
Near the barge, in the stream, a rowboat with other figures. In the 
background a bridge leading to the river’s farther shore, where occa- 
sional steeples and chimneys rise above a mass of green tree-tops. 


Signed at the lower left, Joncxinp, 1865. 
Collection Saint Albin, Paris. 
Purchased from the Galerie Allard, Paris. 


THEOPHILE DE BOCK 
Dutcu: 1850—1904 


21—_LANDSCAPE AND FIGURE 


Height, 21 inches; width, 1614 inches 


Unpver a blue sky in which vaporous clouds are suspended, green trees 
and some trees all but bare of leaves stand at left and right of a 
by-road whose sandy reaches are dappled with sunshine and shadow. 
At a turning in the middle distance the standing blue-clad figure of a 
peasant woman in a white cap. 


Signed at the lower right, Tu. pe Bock. 
From Goupil & Co., The Hague. 
Purchased from the Galerie Allard, Paris. 


CHARLES COTTET 
Frencu: 1863— 


22 FEMME DANS UN PARC 
Height, 2444 inches; width, 17 inches 


Ix the foreground a tall young woman walking somewhat away from 
the spectator, her face turned in profile to the right. She wears a 
white summer dress of light material, with a black lace shawl draped 
over her arms, and a gracefully flowing Leghorn hat trimmed with 
black, the wide brim partially shading her features. She is in the 
formal path of a park and in partial shade, and in the background 
in sunshine a hospitable building appears with a gathering of persons 
suggested about the steps. 

Signed at the lower left, Cu. Correr. 


Purchased from the Artist direct. 


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ALBERT LEBOURG 


Frencu: 1849— 


23—LA MEUSE A DORDRECHT 


Height, 15 inches; length, 24 inches 


In the foreground the river and marshy shallows, and in the middle 
distance a line of typical Dutch boats extending back and toward the 
left, their sails and pennants blowing to right in an easy breeze. In 
the distance on the right, houses and a windmill, and the notable and 
noted old Gothic church, in a murky haze or the fog of a passing 
shower,—above which the golden sun struggles forth, coloring clouds 
with chromatic refractions, which are reflected below in the surface 
of the stream. 


Signed at the lower left, A. Lenourc, 1895. 


Purchased from the Georges Petit Galleries, Paris. 


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ELIE ANATOLE PAVIL 
Frencu: 1875— 


24 CHARENTE LANDSCAPE: 
NEAR ANGOULEME 


Height, 18 inches; length, 21% inches 


In the background, houses and other buildings of a city or considerable 
town, and from amidst them emerging a river, which curls into the 
foreground, sparkling with the reflections of the buildings and their 
red roofs, and of the green trees which in the middle distance rise high 
on the river’s farther bank. Against its nearer bank, in the fore- 
ground, some punts are drawn up, and in the grass a small figure 
is seated, looking out over the water. 


Signed at the lower right, EK. A. Pavit. 


Purchased from the Artist direct. 


PAUL RENAUDOT 


Frencu: 1871—1921 


25—LE TIROIR 
(Board) 


Height, 2134 inches; width, 1814 inches 


Factne the observer, standing, and bending to her left over a small 
dressing or work table, from which she has pushed forward a drawer, 
a dark-haired young woman in a reddish négligé house gown leans upon 
the table and with one hand reaches into the drawer. Her gown is 
open at the throat, and the girl’s head is inclined forward as she looks 
downward for what she seeks in the drawer. 


Signed at the upper right, P. Renavupor. 


Purchased from the Artist direct. 


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ALEXANDRE JACOB 


Frencu: ConTEMPORARY 


26—BORD DE RIVIERE: UN PECHEUR 


Height, 18 inches; length, 21% inches 


From the left, slanting sunshine touches the gray gable of a brown- 
thatched cottage and the red gable of its neighbor, and illumines in 
the distance a green hillside and its thick trees, which show autumnal 
color. Between the cottages and the wooded hill, a silver-blue river 
which fills most of the foreground and shows reflections of a robin’s-egg 
sky in which mauve cloud billows roll serenely away. Near the stream’s 
bank a fisherman in his boat, fishing a la ligne. 


Signed at the lower right, A. Jacos. 


Purchased from the Petri Galleries, Paris. 


HENRI LEBASQUE 


Frencuo: NINETEENTH CENTURY 


27—FEMMES TRAVAILLANT DANS UN PARC 
Height, 1814 inches; length, 24 inches 


In bright sunshine, in an informal park bordering a cobalt sea, two 
women are seated in chairs, the elder sewing, the younger with work 
or a book on her lap, and both wearing Leghorn sunshade hats. One 
in a blue-white dress striped with black, her companion gowned in 
rose. In the environment green trees and bushes. 


Signed at the lower right, LEBASQUE. 


Purchased from the Georges Petit Galleries, Paris. 


ELIE ANATOLE PAVIL 


Frencu: 1875— 


23—LE QUAI NATIONAL: LES : 
DERNIERS RAYONS DE SOLEIL pro 


Height, 1814 inches; length, 24 inches 


Tue broad gray quay occupying the foreground and running back 
on the left under the green and gold-tipped branches of overhanging 
trees 1s broadly patched with golden lights, under the influence of the 
setting sun. Stray and idling figures are seen on it, and against it at 
right are cargo barges and other craft, many-hued, drawn up in the 
pale-blue river, which in the distance passes under a gray bridge of 
several arches. Sunset iridescence tints the sky, over distant chimneys 
and the green trees of the farther bank of the stream. 


Signed at the lower right, Exim Pavit. 


Purchased from the Artist direct. 


ALEXANDRE JACOB 


Frencu: CONTEMPORARY 


29—BORDS DE LA CANCHE: HIVER 


Height, 18 inches; length, 21°4, inches : 
gp S50 


Wrnter’s white pall, yellowing in warm sunshine, and faintly bluish- 
green where the sunlight is screened, lies over flat fields bordering the 
stream which courses down the centre of the composition, and over the 
gable roofs of cottages and barns on the stream’s bank and far afield. 
Near the cottages to right are short scraggly trees and taller poplars, 
leafless or nearly so, and in the background is a low, darkly wooded hill. 


Signed at the lower right, A. JAcon. 


Purchased from the Petri Galleries, Paris. 


P5]s 


CONSTANT TROYON 
Frencu: 1910—1865 


30—LANDSCAPE WITH CATTLE AND FIGURES 


(Pastel—Oval) 
Height, 19 inches; width, 154 inches 


Unper a soft summer sky of robin’s-egg blue, massed with clouds pink- 
ish-buff and mauve, a rambling and varied valley extends afar between 
high hills, its centre broken by mounds and bluffs and clumps of green 
trees. In a meadow patch in the foreground cows are grazing in the 
sunshine, and near them some figures are seated in a group on the 
grass, at the foot of a cluster of ragged trees whose foliage shows tinges 
of autumn coloring. 

Signed at the lower left, C. T. 
Purchased from Tedesco fréres, Paris. 


LOUIS EUGENE BOUDIN 
Frencu: 1824—1898 


31—ST. VALERY SUR SOMME 
Height, 1414 inches; length, 23 inches B 4s 


Gray the skies on a grayish but very light day, the veiled yet dif- 
fused sunshine penetrating even beneath the trees on the low hillsides 
bordering on the right and left and in the distance the bend of the 
river which, issuing from the left, expands to occupy most of the 
foreground. To left the bank shows trees, a solitary figure on its slope, 
and in a boat at the water’s edge other figures. Along the right are 
square-riggers at the foot of a primitive quai, along which, a bit higher 
up, are houses and the waterside buildings of commerce. 


Signed at the lower right, K. Bounry, 90 (with place name 
not wholly legible). 


Collection St. Albin, Paris. 


Purchased from Tedesco fréres, Paris. 


LEON AUGUSTIN LHERMITTE 
Frencnu: 1844— 


32—LA LECON DE COUTURE 
( Pastel) 
Height, 18 inches; length, 221% inches L400 


WrrHIN a spacious cottage room an old woman and two younger ones 
are seated near a window on the right and about a drum-shaped stove, 
the younger women sewing. An open door in the left background 
reveals another large room, the whole simple and plain but with a quiet 
charm of color. 

Signed at the lower left, L. Lurermirre. 


Collection Chaperau, Paris. 


Purchased from Tedesco fréres, Paris. 


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LEON AUGUSTIN LHERMITTE 
Frencu: 1844— 


33—_LA MESSE A ST. BONNET, BOURGES 


(Pastel) 
Height, 2144 inches; length, 251 inches 


Cross section of the interior of a handsome church, looking toward 
brilliant and beautiful stained glass windows; at right the altar with 
priests and acolytes, at left the worshippers facing it, and in the left 
foreground the organist playing, his back to the spectator. 


Signed at the lower right, L. LHERMITTE. 


Purchased from the Artist direct. 


HENRI HARPIGNIES 
Frencu: 1819—1916 


%. 


34— LANDSCAPE WITH FIGURES 
Height, 191% inches; length, 2534 inches 


Unover a fair blue sky filled with fleecy white clouds a green pastoral 
landscape, broken by trees and an occasional house. In the foreground 
a stream, light with cloud reflections and shadowed by clumps of trees 


and reeds, and on its green grassy bank two girls in blue, seated, one 
of them fishing with rod and line. (Nieces of the Artist.) 


Signed at the lower left, H. Harpicnres, 1883. 
Collection Gurt, Paris. 


Purchased from Tedesco fréres, Paris. 


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LEON AUGUSTIN LHERMITTE 
Frencu: 1844— 


35—PELERINAGE POUR L’ENF ANT MALADE: 
EGLISE DE PLEIN-PIED, BOURGES 
(Pastel) 
Height, 2534 inches; width, 2144 inches 


Ar a shrine within a Norman church of soft and rich coloring, with the 
light of a bright day plenteously illumining the spacious interior, a 
family in trouble have come for divine relief. A little girl kneeling 
burns a candle, the father standing bows his head in prayer, the mother 
raises and supports the head of her stricken son who has been laid 
on the chancel step. Humble folk all, in clothing drab and plain. 


Signed at the lower left, LHERMITTE. 


Purchased from the Artist direct. 


HENRI LEBASQUE 


Frencu: NINETEENTH CENTURY ps 
36—BRODEUSE ASSISH SUR L-HERBE 


Height, 2814 inches; width, 25 inches 


Ar left the end of a garden wall capped by a jar of flowers, and beyond 
it steps leading down to right to a sandy path. In the middle distance 
a plump young woman in white, with broad hat concealing her features, 
seated on the slope of a green bank and working at her embroidery in 
the bright sunshine. 

Signed at the lower left, H. Lepasaue. 


Purchased from the Georges Petit Galleries, Paris. 


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EUGENE GABRIEL ISABEY 
Frencu: 1804—1886 


37—_LA PLAGE 


Height, 1614 inches; length, 26°4 inches 


FisHERMEN in colorful and picturesque garb, and bare-legged, in the 
foreground at the left are laboring to push their boat down the slope 
of a sandy shore to the sea which ripples lazily on the right. Lying 
still aground but within the ripples of the slowly rising tide, on the 
right and in the middle distance, are several working boats, with pen- 
nants flying from their masts and their sails still furled; and boats 
under repair or in building are on higher sands in the distance. 


Signed at the lower right, K. Isanery. 
Beugniet et Gérard Collection, Paris. 


Purchased from Tedesco fréres, Paris. 


FRANCOIS CHARLES CACHOUD 
Frencu: 1866— 


388—_LA MAISON BLANCHE: NUIT CLAIRE 
Height, 24 inches; length, 2834 inches 


Srars glisten in an evening sky over a white French farmhouse and its 
neighboring buildings, which beyond a line of slender trees stand forth 
in brilliant moonlight, moonlight that marks foliage shadows on walls 
and grass and on a stack of hay. An unshuttered window glows golden 
with the light of the room within. 


Signed at the lower right, F. Cacnovup. 


Purchased from the Artist direct. 


CHARLES COTTET 


Frencu: 1863— 
F Ys 


39—_SOLEIL COUCHANT, VENISE 
Height, 291% inches; width, 231% inches 


In a Venetian roadstead placid but still rippling with the ceaseless 
motion of the sea, several heavy working boats with sails still up are 
lying, hulls and canvas in strong silhouette against a flaming sunset 
sky whose reflections encrimson the green surface of the water. In the 
distance at left a low point of land with buildings. 


Signed at the lower right, Cu. Cortet. 


Purchased from the Artist direct. 


150. 


ELIE ANATOLE PAVIL 


Frencu: 1875— 


40—JARDIN PITTORESQUE, PARIS 


Height, 23% inches; length, 28%4 inches 


SunsHINE and the shadows of fresh green and yellow foliage dapple a 
broad and formal path which extends straight away from the eye 
through a park or garden to an indefinite distance. On right and left, 
lines of slender trees and of thick bushes border the path, and away 
at the left rises a confused mass of city buildings. On and near benches 
are maids seated, and children at play, and a small carriage stands near 
the group of figures. 

Signed at the lower right, E. A. Pavit. 


Purchased from the Artist direct. 


EUGENE GABRIEL ISABEY 
Frencu: 1804—1886 


41—LE CHATEAU-FORT: LE DUEL Cg 


Height, 2114 inches; length, 2834 inches 


Hicu on a rugged hill on the left a stern yet graceful gray chateau, 
many-towered, and before a gate in an outer, older castle wall a goodly 
number of horses from which the cavalrymen have dismounted. On 
green and rugged slopes within the ramparts, in the central foreground, 
cavaliers in gay colors standing in a group in full sunshine, awaiting 
the progress of a duel. Below on the right, the city which the chateau 
dominates, its towers rising above the settling valley haze, below a 
heavily clouded yet light sky. 


Signed at the lower left, E. Isanry, *63. 
Collection of M. L. de Villequetone, who had it from the Artist direct. 


Purchased from the Galerie Allard, Paris. 


f igo 


ALBERT LEBOURG 


Frencu: 1849— 


_42—LANDSCAPE WITH FIGURE 


Height, 29 inches; width, 20 inches 


Ar left a brook bending into the foreground from green meadows, and 
bordered by slender poplars, and following the stream’s course at right 
a broad footpath. In the path a young woman in blue skirt and 
pink waist, strolling, coming slowly toward the spectator. The hour 
is the end of day, and the clouds in the sky are a blaze of sunset splen- 
dor partly subdued, streaks of their still effulgent glow showing reflec- 
tions in the sparkling brook. 


Signed at the lower left, A. Leznoura (with a place name, 
and date). 


Exposition for benefit of Blind Soldiers, Paris, 1916. 


Purchased through Galerie Georges Bernheim, Paris. 


ANTOINE VOLLON 


Frencu: 1833—1900 


G sts 


483 —NATURE MORTE: FLEURS ET FRUITS 


Height, 29 inches; width, 20 inches 


On a table of tapestried covering in soft colors, a large bunch of 
luscious black grapes is lying beside a gray globular jar which at 
one side reveals dark blue decorations, and near the jar stands a goblet 
of golden-amber wine. The jar, or vase, holds a multicolor bouquet of 
asters and other flowers, large and small, interspersed with their 
various leaves. 


Collection Dhainaut, Paris. 


Purchased from Tedesco fréres, Paris. 


ETIENNE DINET 
Frencu: 1861— 


44—PAYSAGE ALGERIEN 


Height, 3014 inches; width, 25% inches 


Wirn rays of the setting sun from the left still warming the features 
of the landscape, and tinging with rouge a few cloud tufts seen above 
a distant barren hilltop, the crescent moon appears silver-white in the 
sky where evening planets already glow. In the middle distance and 
foreground masses of white architecture stand out from a setting of 
palm trees, and amid tomb-like ruins two figures appear, hooded and 
in deep red. 

Signed at the lower right, K. Diner. 


Purchased from the Galerie Allard, Paris. 


FRANCOIS CHARLES CACHOUD 
Frencu: 1866— 


45—ST. ALBAN DE MONTBEL: NUIT CLAIRE 


Height, 251% inches; length, 32 inches 


Licur from a moon unseen at the left illumines the foliage of a few 
pollarded trees, and casts their shadows and the shadows of trees not 
themselves visible upon flat, grass-covered land in the foreground, which 
leads to a line of cottage buildings of the Savoy village, the buildings 
lying in a receding line toward the left distance. In the central cottage 
an open door shows the interior warm and cheerful with a brilliant 
light. 

Signed at the lower right, F. Cacuoun. 


Purchased from the Artist direct. 


ETIENNE DINET 
Frencu: 1861— 


46—REPOS DE LA BAIGNEUSE: ALGERIE Leo 
Height, 32 inches; length, 39% inches 


In a rocky garden rich in greenery and blossoming plants, a bright- 
eyed bronze-hued young woman of a certain quality is seated on the 
ground beside a pool, nude within a fanciful drapery and facing the 
spectator, the sunshine glinting from shoulder and one flexed knee. 
Face and breast, arms and legs are sparingly tattooed with simple 
designs in green, and she wears numerous bracelets and anklets, and 
gaudy jewelry. Content in freedom, she eyes the observer quizzically. 


Signed at the lower right, K. Diner. 
Purchased from the Artist direct; from the Galerie Allard, Paris. 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


47—_LA ROUTE DE NOVALAISE, 
SAVOIE: SOUS LA LUNE 


Height, 2514 inches; length, 31°4 inches 


MoonutenrT in its full, soft brilliance bathes a landscape of green trees 
and brush, through which a creamy-gray road runs from the right 
foreground to lose itself in a bend toward the left in the distance. The 
moon itself is not visible to the spectator, its ight entering the picture 
from the left and casting the shadows of the trees across the road. 
Cumuli drift in the sky and above them stars appear. A landscape 
of peace and beauty in a countryside undisturbed by man or habitation. 


Signed at the lower right, F. Cacnovup. 


Purchased from the Artist direct. 


Pym 


ANTOINE VOLLON 


Frencu: 1835—1900 


48—STILL LIFE 


Height, 2114 inches; length, 25%4 inches 


Me.tow and bright in their golden ripeness large luscious pears lie 
amid glistening white and black grapes on a gold-toned standing dish, 
which they share with plums with their delicate purple bloom unmarred. 
Beside these, peaches glow on a drapery of emerald and gold. Back 
of them a highly ornamental covered jar and a tall standing cup with 
fascinating tones and reflections stand forth against a background of 
richly mingled hues. 

Signed at the lower left, A. VoLuon. 


Collection Cabruja, Paris. 


Purchased from the Galerie Allard, Paris. 


y"4- Kewhewn 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


49—INTERIEUR DE BERGERIE 


Height, 19 inches; length, 2814 inches 


A sHEEPFOLD with no darkness, no dusky corners shown, but the roomy 
interior well lighted from two windows in the wall on the right, the 
light softened by the effect of the gray walls and timbers and the 
warmer yellowish notes of the straw lying thick on the floor. Feed 
racks and troughs, and two placid and lonely sheep, and in the centre 
a shepherd boy pitching loose the straw covering of the floor and 
intently watched by his dog. 


Signed at the lower right, 1874 Coror. 


Collection St. Albin, Paris. 


Purchased from the Galerie Allard, Paris. 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


50—NUIT DETE SUR LA ROUTE, EN SAVOIE 


Height, 251% inches; length, 3124 inches 


Moonuicut and starlight on a quiet country road in Savoy, on a 
summer night peaceful and still; no leaves stirrmg. The road, narrow 
and winding, runs from the foreground and curves out of sight in the 
distance, a narrow strip of grass bordering it on the right. On the 
left in the middle distance a white cottage with brown thatched roof, 
one window aglow from a light within, and back of it farm buildings. 
Before it a few detached trees, the shadows of their sparse foliage 
dappling the road. 

Signed at the lower right, F. Cacuovup. 


Purchased from the Artist direct. 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


51—COIN DE VILLAGE 


Height, 2334 inches; length, 28%4 inches 


Aw edge of a retired hamlet observed in the quiet of a moonlight night, 
with stars silver-white in the sky, the level sward of the foreground 
patched with the foliage-shadows both of seen and of unseen trees. 
In the middle distance, at right and left of the grassy way, cottages 
whose green-white walls beneath their brown roofs are also marked by 
the shadows of the branches of their neighboring trees. Through the 
doorway of a cottage on the right a light shows the friendliness of 
habitation. 

Signed at the lower right, F. CacHoup. 


Purchased from the Artist direct. 


$409 


HENRI LEBASQUE 


FrencH: NINETEENTH CENTURY 


52—“SOUS LOMBRELLE: 
LA CHIROMANCIENNE” 


Height, 3914 inches; width, 3134 inches 


Own lavender-blue steps before pink and orange walls three young girls 
of exotic type are seated, one in a gipsy-red and beflowered dress, over 
whom a youngster holds a green and white parasol, having her palm 
studied by the third member of the group—who is engagingly posed, 
with back to the observer, and is simply clad in a light waist and a 
short canary-colored skirt. 

Signed at the lower right, LeBAsQvE. 


Purchased from the Artist direct; from the Galeries Georges Petit, 
Paris. 


GASTON LA TOUCHE 
Frencu: 1854—1913 


583—LE RAPPEL L§0 
(Panel) 


Height, 311% inches; width, 3014 inches 


One of the theatre series, picturing the recall of a favorite player, 
a young woman with reddish-blond hair wearing a décolleté gown of 
fluffy white material trimmed with blue, and adorned with pink roses. 
In profile to the right she bows to the audience, a few of whom in the 
boxes are visible to the spectator, and back of her at the side of the 
stage several men and a woman are seen. 


Signed at the lower right, Gaston 1a Toucue. 
Prwvate collection of Mme. La Touche. 


Purchased from the Galerie Allard, Paris. 


JEAN FRANCOIS RAFFAELLI 


Frencu: 1850— 


54—I’ ARBRE AU CAP MARTIN 


Height, 2584 inches; length, 341 inches 


Tue foreground the top of a yellow-sandy bluff; beyond it a pale 
turquoise-blue sea stretching to the white horizon. At the edge of the 
bluff and at the centre of the composition, a single tree, of feathery 
foliage and rambling branches, graceful in its serene isolation; the 
shadow of its trunk falling toward the spectator and the left. At its 
side, to right, a peasant woman laden with fagots, followed by her dog. 


Signed at the lower left, J. F. Rarraéuu. 


Purchased from the Georges Petit Galleries, Paris. 


FRITS THAULOW 


Norwecian: 1847—-1906 


55—RIVIERE A AUDENARDE 


Height, 29 inches; length, 3614 inches 


Woops and detached trees at right and left in the background, their 
autumn foliage illumined by the softened sunshine of a lightly clouded 
sky, the shadows of slender trunks marking a green meadow at right 
and wavering on the rippled surface of a river which expands over the 
whole foreground. Here ducks are swimming, at left, within the cool 
shadow of a projecting point of greenery. Farther away a train cross- 
ing the valley on a viaduct trails its vaporous streamer of smoke and 
steam. 


Signed at the lower right, Frirs THautow. 


Collection Manatcheff, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


prs 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


56—LA FERME A LA LANTERNE 

Height, 2334 inches; length, 28%, inches 
In the foreground a farmyard, with scattered trees and two closely set 
haystacks, and in the middle distance a small cottage and a large barn, 
the whole observed on a night of soft moonlight. Emerging from a 
broad doorway of the capacious barn into a gray, well worn path, a 
farmer coming forward, carrying a lighted lantern. 


Signed at the lower right, F. Cacnoup. 


Purchased from the Artist direct. 


ETIENNE DINET 


Frencu: 1861— 


57—“LE RETOUR DE LOUED” 


Height, 251% inches; length, 3914 inches 


Two bare-footed women of bronze complexion, dressed in purple-red 
and enveloped in white mantles flowered in purple, are walking toward 
the right in a sunny valley, preceded by a boy and girl of similar type 
and followed by an old woman who is carrying a shoulder burden. Be- 
yond them barren mountains rise above the picture limits, and the tops 
of palms and of other trees appear in a deeper ravine of the valley. 


Signed at the lower right, EK. Driver. 


Purchased from the Artist direct; from the Galerie Allard. 


MAURICE BOMPARD 


Frencu: CoNTEMPORARY 


58_VENICE xp 240 


Height, 28 inches; length, 434 inches 


Looxrne down the blue water of the Grand Canal toward the Lagoon; 
a solitary gondolier manceuvring his laden market boat in midstream; 
the buildings on the banks indefinitely put in, with neutral colors. The 
domes of the Salute and the Dogana on the right; the Ducal Palace 
hinted at on the distant left. 


Signed at the lower left, Maurice Bomparp. 


Collection. Scheu, Paris. 


FRANCOIS CHARLES CACHOUD 
Frencu: 1866— 


59 CLARTE LUNAIRE 


PIS 


Height, 2514 imches; length, 32 inches 


In the brightness of moonlight a large cottage, greenish-white under its 
red-brown roof, stands forth under a greenish and starlit sky. <A few 
trees hug it closely, and a detached tree at left augments their com- 
pany. A rail fence parallels the long face of it, and the uneven ground 
shows shadows in the grass. 


Signed at the lower right, F. Cacnoun. 


Purchased from the Artist direct. 


HENRI G. MARTIN 


Frencu: 1860— 


60—LE PONT DE SAINT MEDERE, AV EY RON 


Height, 2534 inches; length, 40 inches 


SunsHINE in a sky of light hazy blue strewn with white cloud strata; in 
the background to left a hill of verdure and warm florescence. Cross- 
ing the landscape in the middle distance a gray stone bridge purpled 
with transparent shadows and colorful with myriad soft reflections, its 
two broad arches spanning the curve of a hastening river. The rippling 
water, sharing and intensifying the colors of the surroundings, skirts 
in the right foreground a low field brilliant in golden yellow. 


Signed at the lower right, Henri Martin. 


Purchased from the Georges Petit Galleries, Paris. 


GUSTAVE COURBET 


Frencu: 1819—1877 


61—PAYSAGE AVEC BICHES 


Height, 6114 inches; width, 4414 inches 


On the left and in the background tall trees and dense ones, rich in their 
green leafage varied in tone, and standing against a turquoise sky 
lightly veiled with tenuous white clouds. In the foreground the forest 
opens to a glen, green carpeted, and the pool of a brook there reflects 
the greenery, the tree trunks, and a patch of the sky. At a bend of the 
stream wild flowers are blossoming, and three deer are coming through 
the underbrush to drink. 


Signed at the lower right, G. Courser. 
Collection of Potter Dekens, Brussels. 


Purchased from the Galerie Allard, Paris. 


SECOND AND LAST EVENING’S SALE 
FRIDAY, JANUARY 5, 19238 
IN THE ASEMBLY HALL 
OF 
THE AMERICAN ART GALLERIES 
BEGINNING AT 8.30 O'CLOCK 


Catalogue Numbers 62 to 122, inclusive 


JEAN JACQUES HENNER 
Frencu: 1829—1905 


62—M ADELEINE 
(Board) 


Height, 1034 inches; width, 8 inches 


FuLi-LenctH figure of a fair young woman with Titian hair, semi- 
nude, with blue drapery, seated on the ground with feet folded under 
her, and facing the left, with her back against a high bank and her 
head also thrown back against the bank. She is in a full light, against 
a dark neutral background. 


From the private collection of the French painter, Ernest Hébert, who 
obtained it from Henner. 


Purchased from the Galerie Allard, Paris. 


BPPEs 


pyr 


EDOUARD MANET 


Frencu: 1832—1883 


683—““L’AMAZONE” 
(Water Color) 
Height, 814 inches; length, 1034 inches 


Aw equestrian figure in sunshine before the shadowy suggestion of a 
wood. A sorrel horse with proud head and alert eye stands facing the 
right and slightly forward. On it and riding side-saddle is a young 
woman in a habit whose colors nearly match those of the horse and its 
saddle, with the relief of a blue band about her small hat. She looks at 
the observer with penetrating glance. 


Signed at the lower right, Manet. 
The Baron Vitta Collection. 


Purchased from the Galerie Barbazanges, Paris. 


JULES DUPRE 
Frencu: 1812—1889 


64—LA CHAUMIERE 
Height, 10°4 inches; length, 14 inches 


Broap ways and -fields of cultivated and of rough land, mainly level, 
and with an occasional bunch of bushes or low trees. In the middle 
distance slight rises of the land at right and left of a field road which 
is brilliant in golden sunshine and reveals afar off a solitary peasant 
figure standing. At left the thatched cottage of the title, its roof alone 
showing above a luxuriance of vegetation. The sky overspread by 
gray shower clouds save at the rift where the sunshine bursts through, 
warming the dissolving vapor to creamy tones. 


Signed at the lower left, Jutes Dupre. 
Collection Secrétan, Paris. 
From Boussod, Valadon ‘et Cie. 


Purchased from the Galerie Allard, Paris. 


face 


JEAN CHARLES CAZIN 


Frencu: 1840—1901 


65—PAYSAGE DES ENVIRONS D’EQUIHEM 


Height, 9 inches; length, 111% inches 


Licutty rolling fields of yellow stubble, an edge of brush, and cones of 
the stacked grain, in a soft hazy light. Far away, cumuli which seem 
to be sinking below the field crests. 


Signed at the lower right, J. C. Cazin. 
From Paul Foinet fils, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


JEAN BERTHOLD JONGKIND 
Daren 11819-1891 fp GIS 


66—CANAL EN HOLLANDE: EFFET DE NUIT 
Height, 131% inches; length, 18%4 inches 


Ar right the white-trimmed red brick buildings of a Dutch city, in a 
street bordering the canal and lined with trees; toward its end a wind- 
mill, in the distance. At left in the foreground some shipping, and in 
the middle distance, a bridge with its evening lights set, spanning the 
canal. And over all the light of a full moon emerging from clouds and 
reflected in the water. 

Signed at the lower right, Jonexinp, 1871. 


Collection Salvator, Marseilles. 


Purchased from the Galerie Allard, Paris. 


=e 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


67—VILLAGE AU BORD DE LA MER 


Height, 814, inches; length, 14 inches J 4 


Far away in the distance toward the left the sea in the soft brightness 
of summer blue rolls lazily, suggested rather than seen, under a sky of 
soft hazy blue filled with banks of white and grayish clouds. Before it 
lie the gray-green salt meadows, warmed by patches of vellow, and 
trudging through them in the foreground, toward the observer, is an 
old woman of the sea folk, coming from a group of picturesque cottages 
on the edge of a seaside hamlet. 


Signed at the lawer right, Coror. 
From Georges Bernheim, Paris. 


Purchased from the Galeries Georges Petit, Paris. 


pyre 


NARCISSE VIRGILE DIAZ DE LA PENA 


Frencu: 1808—1876 


68—ENFANTS AU LEZARD 


Height, 1034 inches; length, 14 inches 


Berore a house and in a garden of somewhat Oriental aspect a little 
girl moving cautiously forward from the right spreads her hands as she 
bends as if to grasp a pet green lizard crawling toward her on the 
ground. Near her two other small girls, facing the observer, are look- 
ing on with interest, all three of the children garbed in robes of their 
elders, rich in soft colors and embroidery; and all wear caps equally 
colorful and rich in the warm outdoor light. 


Signed at the lower left, N. Diaz. 
Collection Michel Pelletier, Paris. 


Purchased from Tedesco fréres, Paris. 


JEAN FRANCOIS MILLET 


Frencu: 1814—1875 


69 LES DEUX BERGERES 
(Crayon drawing) 


Height, 138% mcehes; length, 1734 inches 


SEATED on a bank at the right of the foreground a peasant woman, 
pensive, with hands folded on her lap, and beside her stretched on the 
ground and with back resting against the bank another, keeping her 
stolid company—two shepherdesses guarding their sheep, which are 
seen grazing, in large number. Above the figures a copse. 


Signed at the lower right, J. F. Mituer. 


From the collection of the French painter, Ernest Hébert, who obtained 
it from Millet in 1849. 


Purchased from the Galerie Allard, Paris. 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


70—L’ETANG 
Height, 131% inches; length, 17% inches 


V4 
oe 


In a cove of an extensive pond, or at a bend in a shallow river, three 
cows are standing in the water—silvery water reflecting delicate green- 
ish shadows of bordering trees and lined with white ripples where the 
cows have waded in. On the bank in the left foreground a woman sits 
watching them, a peasant woman in blue trimmed with white, and just 
revealing the inevitable red Corot touch at an elbow. Beyond her the 
bank rises to a mound, in front of dense trees of soft foliage which rise 
before a sunset sky. 


Signed at the lower right, Coror. 


Collection Baron Schoen, Paris. 


Purchased from Tedesco fréres, Paris. 


CHARLES FRANCOIS DAUBIGNY 


Frencu: 1819—1878 


TI—LAVANDIERES AU BORD DE L’OISE 
(Panel) 
Height, 91% inches; length, 1814 inches 


Tue river supphes the foreground, its scarcely ruffled surface gray 
and white, gray again and green, with reflections of clouds and the 
farther bordering hills, and of trees which mass on its bank at the left. 
Here at the water’s edge at the foot of the thick trees some laundresses 
are washing linen. <A few boats are near them, with a man in one, and 
farther along the bank, in the central middle distance is an assembly of 
brown buildings, 


Signed at the lower left, Dausteny, 1865. 
Collection Descamps-Scrive de Lille. 


Purchased from the Galeries Georges Petit, Paris. 


pijec 


CONSTANT TROYON 


Frencu: 1810—1865 


72—VACHE ET MOUTONS 


Height, 1614 inches; width, 1814 inches 


SunsHINE from the left and back of the observer illumines the warm 
and soft coat of a red and white cow which steps into the picture from 
the left, moving leisurely to open pasturage along the edge of a wood. 
In front of the cow, sheep share in the sunshine; and another sheep 
standing back of them is seen in the shadow of the wood. In the dis- 
tance the green and flat fields extend to a horizon of shower clouds, 
dense and murky. 


Signed at the lower left, C. Troyon. 
Prince de Broglie Collection, Paris. 
Collection Montgermont, Paris. 


Purchased from the Galeries George Petit, Paris. 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


73—BORD DE RIVIERE 


— 
—— 


en 


} 
Height, 15 inches: length, 18 inches “° 


Lien silvery gray the sky, with no glimpse of blue visible, and the dif- 
fused light of a spring or early summer day veiled from the sun, over an 
open landscape of green country, flat or showing low rolling hills. 
Through the landscape, in the foreground courses a sluggish, placid 
stream, where a white duck swims and a gray barge lies against the 
bank, and between clumps of trees on the farther side of the water a 
peasant girl is seen, with a red kerchief over her shoulders and a white 
one on her head. 


Signed at the lower right, Coror. 
Collection St. Albin, Paris. 


Collection of Mme. Poupinel, Paris. 
Purchased from the Galeries Georges Petit, Paris. 


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JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


74—LA GARDEUSE DE VACHE: PATURAGE 
EN PICARDIE, SUR LE PLATEAU 


Height, 15 inches; length, 181, inches Ee a 2,9 


Own a sunny day with white clouds drifting in a turquoise-blue sky a lone 
peasant girl wearing a white cap is observed standing in the fore- 
ground, at right, watching a solitary brown cow which is grazing at the 
left, the shadows of both spotting the meagre grass growing in a patch 
of rough country. Back of the figures some trees relieve a bleak land- 
scape which in the distance reveals the gray earth of broken hills. 


Signed at the lower left, Coror. 


From Georges Bernheim, Paris. 
From Arnold & Tripp, Paris. 


Purchased from Georges Petit, Paris. 


JULES DUPRE 
Frencu: 1812—1889 


75—COIN DE FERME 


Height, 191/, inches; width, 1714 inches 


In a soft and mellow glow of light, with the sun still high, a corner of 
a farmyard is depicted under a turquoise-blue sky suffused with vapor- 
ous clouds, a steep-roofed cottage on the left and a tall tree before it, 
and on the right some low trees and a shed, near which are a ‘cart and 
horses and some figures. In the gray-brown foreground, some men at 
work and children busily idling near by, and ducks on a low bank which 
slopes to a brook into which pigs have waded. 


Signed at the lower left, Jutzs Dupré. 


Collection Durand-Ruel, Paris. 


Purchased from Tedesco fréres, Paris. 


pee 


EMILE VAN MARCKE 


Frencu: 1827—1910 


76—LA MARE AUX CANARDS 


Height, 15 inches; length, 2134 inches 


Mrapows yellow-green in sunshine in the middle distance, bounded by a 
low and long green hill in the background, over which shower clouds are 
dissipating, with an arc of a rainbow visible at left. In the cloud- 
shadowed foreground a horse and a white-faced red cow stand facing 
the spectator near a pollarded tree at the left, above a pool or sluggish 


stream where many ducks are assembled. 


Signed at the lower left, Em. vAN MARCKE. 
From Arthur Tooth & Sons, London. 


Purchased from the Galerie Allard, Paris. 


Pb Lure 


Olle Osernet ag, 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


77—GROS ARBRE AU BORD DE L’7ETANG 


Height, 1534 inches; length, 1934 inches 0 ¥ 7 : 


Iw the background gray water bordered by distant rolling lands which 
bank low against a hazy gray-blue sky, whose delicate hue is enlivened 
by the flame touched edges of fleecy cloud strata. At left a venerable 
pollard of bold and gnarled trunk, silhouetted at the border of the 
water, its later free-branching foliage screening the sky and meeting 
the feathery leafage of three slender saplings on the right. In the par- 
tially luminous shadow of the central foreground the bent figure of a 
red-capped peasant, at the margin of a rill. 


Signed at the lower left, Coror. 
Collection Gentien, Paris. 


From Georges Bernheim, Paris. 


Purchased from the Galeries Georges Petit, Paris. 


Ss 


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JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


78—EHTAPLES 
HI $0 
Height, 16 inches; length, 1934 inches 


Tue charm of a summer’s day of light airs on a dune and cliff coast, 
with river or sea suggested but not in itself painted in the distance and 
toward the right—the whole under a pale turquoise sky strewn with 
nebulous clouds. At left a point of land high, partly in its own shadow, 
with bushes or low trees cresting it and a pollard at its base. Near 
the foreground and to right, plodding with sturdy vigor over the 
uneven surface of the land, a peasant woman with tree-branches over 
her shoulder and a child at her side, wending toward a cottage in a 
hollow, its red roof, only, appearing above the nearer ground. 


Signed at the lower right, Coror. 
Collection Cronier, Paris. 
From Arnold & Tripp, Paris. 


Purchased from Tedesco fréres, Paris. 


ALFRED SISLEY 


Frencu: 1840—1899 


79—LE BARRAGE DE LA MACHINE A MARLY 


Height, 15 inches; length, 24 inches 


In the middle distance the water comes in white foam over the dam, 
before a background of blue, green and brown hills under a sky of faint 
sunset hues; at either side are buildings, largely lost in the landscape. 
Before the dam the river broadens to the foreground, between a rugged 
and lush green bank on the right and a green mound on the left whose 
trees of light golden-brown foliage enliven the moving water with their 
reflections. 


Signed at the lower left, Ststry, °73. 


Collection of Mine. G. Morris, who obtained the picture direct from the 
Artist. 


Purchased from the Galerie Allard, Paris. 


poo 


CAMILLE PISSARRO 


Frencu: 1831—1903 


80—PORTRAIT OF MADEMOISELLE MURER 


(Gouache) 


Height, 24°4 inches; width, 1814 inches 


Bust portrait of a plump woman in youthful maturity, clad in colorful 
hues both light and dark, seated and facing the right, three-quarters 
front. She is smiling, and directs her quizzical glance toward her right. 
Her hair, curling loosely over her forehead, is dressed high at the back 
and adorned with pink ribbons, 


Signed at the lower left, C. Pissarro, 1877. 
Collection R. Pissarro, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


pas 


PAUL ALBERT BESNARD 


Frencu: 1849— 


81—FRAGILITE 
(Pastel) 
Height, 24 inches; width, 191% mches 


A VEILED-AZURE goblet lightly held in right hand at shoulder height 
before a waist of soft golden-écru enwrapped in a softer old-rose. A 
maiden with hazel eyes set within a creamy complexion beneath a wealth 
of sable hair; eyes pensive, enquiring. She appears at half-length, 
seated and facing the observer, with figure slightly to right and head 
lightly inclined toward her right shoulder, before a nebulous back- 
ground of neutral tones. 


Signed at the lower right, Brsnarp. 


Purchased from the Georges Petit Galleries, Paris. 


pp ove 


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FIRMIN AUGUSTE RENOIR 


Frencu: 1841—1919 


82—L°ENF ANT AU POLICHINELLE 


Height, 22 inches; width, 18 inches 


A piump pink-cheeked infant with golden-sandy hair and deep-blue 
eyes, seated on the ground in garden surroundings, conceivably at the 
foot of its mother’s rainbow skirts, looks placidly upon life and nature, 
and grips in its chubby hand an articulated Punchinello. The infant 
in gauzy white and blue, the saucily masked Punchinello in polychrome 
and an emerald cap. 


Signed at the child’s right elbow, Renor, 775. 
Collection de la Pommeray, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


ALFRED SISLEY 


Frencu: 1840—1899 


88—ROUTE EN AVANT DE VILLAGE: 
SHINE ET MARNE 


Height, 18 inches; length, 241 inches 


On the right a clay bank topped by grass and a rambling gray picket 
fence, which wanders down to the edge of a winding, yellow sandy road 
in which a woman is seen walking slowly away from the spectator. The 
season is autumn, and on the left of the road and in the background 
trees and brush show warm notes of red and yellow amid the green. 
while a bifurcate tree at the roadside shows branches from which the 
foliage has largely fled. 


Signed at the lower right, Ststny, °75. 
From Bernheim fréres, Paris. 


Purchased from Georges Petit, Paris. 


CAMILLE PISSARRO 


Frencu: 1831—1903 


84— LA ROUTE: LA MAISON A TOIT ROUGE 


Height, 18 inches; length, 22 inches 


Own a summer day of bright, diffused light, with the sun cloud-screened 
and causing but little shadow, a peasant woman carrying a considerable 
shoulder-load and accompanied by a small child trudges toward the 
spectator on the bend of a country road, which winds its buff course 
between green fields and flowery gardens. Poplars and shorter trees in 
rich green leafage grow in the background, beyond a crude house stand- 
ing at the foot of a broken earth bank on the right. 


Signed at the lower right, C. Pissarro, 1872. 
From the private collection of M. Georges Petit, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


ALBERT LEBOURG 


Frencu: 1849— 


85—_L7EGLISE ST. HILAIRE A ROUEN 


Height, 18 inches; length, 251% inches 


A WINDING way gray and orange-brown in its trodden parts, and bor- 
dered in a rich lush green, leads from the foreground back and toward 
the right, around a green hill; and on the left of the way there rises a 
colorful architectural mass dominated by the church and its spire. 
Warm hues from a gorgeous sunset sky patch walls and roofs with 
varied color, and a slant of the sunshine touches the forehead and 
shoulder of a girl standing, in the middle distance, at the bend of the 
road, 


Signed at the lower right, A. Lesoure. 


Purchased from the Galeries Simonson, Paris. 


PAUL CEZANNE 


Frencu: 1839—1906 


86—LA CHAUMIERE DANS LES ARBRES 


Height, 231% inches; width, 19 inches 


Creamy and white with brown thatched roof the corner of an humble 
cottage projects from the right, sunny within the partial shelter of 
trees, and grouped with adjunctive buildings, one of them showing a 
red tile roof. Gray sandy soil and grass banks touched with floral 
color. 


Signed at the lower left, P. Cézanne, 773. 
Reproduced in A, Vollard’s work on Cézanne. 
Collection R. de Blives, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


CLAUDE MONET 


Frencu: 1840— 


87—BORDS DE LA SEINE 


Height, 231% inches; length, 32 inches 


Hruts bare but colorful, with here and there patches of grass; a green 
meadow beside a stream which mirrors its surroundings of earth and 
vegetation; trees and thick bushes, and a pale sky in which creamy 
clouds drift. The meadow, circling the hazily chromatic stream, occu- 
pies the foreground and the middle distance on the right, and is itself 
bounded by the colorful hills, which extend across the background to a 
thicket of trees and brush on the farther side of the water. 


Signed at the lower left, CLAUDE Monet. 
Collection Prince de Wagram. 


Purchased from the Galerie Barbazanges, Paris. 


B 900 


CAMILLE PISSARRO 


Frencu: 1831—1903 


88—LE LOING A MORET 


Height, 211% inches; length, 251% inches 


Lerapine from the foreground the river reaches back to varied masses 
of buildings of the city, the blue water surface iridescent with refiec- 
tions from walls and roofs, and of mauve and white clouds, ana of 
green trees and grassy banks. <A point at left with tall poplars marks 
the entrance of a confluent, and people in boats are near it. The whole 
in bright but soft sunlight. 


Signed at the lower right, C. Pissarro, 1902. 
Collection Prince de Wagram. 


Purchased from the Galerie Barbazanges, Paris. 


ALFRED SISLEY 


Frencu: 1840—1899 


89—MORET SUR LOING: TEMPS PLUVIEUX 


Height, 24 inches; length, 29 inches 


In the distance the Moret church and the bridge, and other buildings, 
and about them and at right and left trees in the full green of summer 
foliage, at either side of the narrow river which flows down the centre 
of the composition, its glistening surface a mirror of the verdant leaf- 
age and of the colorful reflections of walls and roofs. In the fore- 
ground to left, boats drawn up to the grassy shore, and some figures 
and a cottage. 


Signed at the lower left, Ststny, ’92. 
From the Captain Benz Collection. 


Purchased from the Galeries Georges Petit, Paris, 


CAMILLE PISSARRO 


Frencu: 18381—1903 


90—LE PONT SUR LA RIVIERE A OSNY 


Height, 211% inches; length, 25°/, inches 


A Narrow river winds sinuously from amid lush meadows on the right 
into the foreground, disappearing toward the left. Joining its green 
banks in the middle distance a low bridge of two arches is built of 
brownish gray stone and without parapet or guard rail. Beyond this 
on the left, a cluster of cream-toned farm buildings with red tile roofs 
lies within a setting of green brush before a background of dense trees 
—the whole in the diffused light of a day of a veiled sun. 


Signed at the lower right, C. Pissarro, 1883. 


Purchased from the Georges Petit Galleries, Paris. 


PAUL GAUGUIN 


Frencu: 1848—1903 


91I—LANDSCAPE WITH FIGURES 


(Mounted on panel) 


Height, 2734 inches; width, 21 inches 


Wirn rich greens, orange, vermilion and blue as the principal colors, a 
hillside landscape under a high skyline is presented, with a village of 
closely placed houses lying in a hollow in middle distance, their roofs 
seen across a green foreground plateau. Here a few slender trees at 
right and a man standing at the foot of them, looking toward the partly 
sketched figure of a woman seated with back to the spectator at the 
centre of the immediate foreground. 


Purchased from the Galerie Barbazanges, Paris. 


piso 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


92—AU VILLAGE DU GUIGUET PAR 
LA NUIT CLAIRE 


Height, 24 inches; length, 29 inches 


THATCH-ROOFED cottages and farm buildings form a group in a near- 
by middle-distance, on a green-turfed ground of rolling surface—a 
single window in one cottage showing a vivid orange glow. Trees of 
foliage delicate and feathery stand about them, and in brilliant moon- 
light pattern walls and sward with transparent shadows of their 
twisted trunks and soft leafage. In the blue sky a few silvery stars. 


Signed at the lower right, F. Cacuoun. 


Purchased from the Artist direct. 


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JEAN LOUIS FORAIN 


FrencH: 1852— 


MATERNITE 


Height, 25°, inches; length, 3134 inches 


93 


Wirurn the brown and bare walls of the office of a hospital a young 
mother in dark skirt and a scarlet waist is seated on a brown bench, 
facing the observer, an undraped infant held in her lap, a high light 
on its flesh and on the glowing color of the mother’s waist. Behind the 
bench and leaning over it, a motley group of the idly curious or waiting, 
men and women—vapid or emotional, their expressions strongly em- 
phasized in the artist’s characteristic manner. 


Signed at the lower right, Foratn. 
Reproduced in “L’ Art et les Artistes,’’ November, 1921. 


Purchased from the Galerie Allard, Paris. 


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E. RENE MENARD 


Frencn: 1862— 


94—NU A ST. TROPEZ 

Height, 2414, inches ; length, 331, inches 
Wirutn a rock encircled cove of the Mediterranean bay a yo in, 
bather with golden-chestnut hair sits nude on the narrow Se 
a bit of white drapery at her side. She is facing the left and 


away from the observer, arms clasping one raised knee, and t! 
playing on her back. Beyond, the broad bay and distant m 


Signed at the lower right, BE. R Ii 


Purchased from the Artist direct. . < ee 


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JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


95—RAMASSEUSES DE BOIS DANS 
LA FORET DE COUBRON 
Height, 1814, inches; length, 22 inches $6 Uy 5} 
Aw edge of an open forest, with scattered trees young and older grow- 
ing on uneven ground, one great tree near the centre of the composition 
spreading its branches broadly before a white sky which discloses only 
small patches of blue. In the foreground, near the right, two women, 


an older and a younger one, gathering the fallen dead sticks from the 
partly dried grass. 


Signed at the lower left, Coror. 
Collection Zieseniss, Paris. 
Collection Mme. Louis Forest, Paris. 
Benjamin Hart Collection, New York. 


Purchased from the Galeries Georges Petit, Paris. 


JULES DUPRE 


Frencu: 1812—1889 


935—PATURAGE DANS UNE CLAIRIERE 
(Panel) 


Height, 1214 inches; length, 2034 inches 


Iy an irregular clearing green and gray and brown along the border of 
a wood whose trees are a dense green, the whole illumined by bright sun- 
hght under a blue sky marked by many white clouds, some cows are 
grazing lazily, peasants are resting at the noon hour, and an active 
dog alone disturbs the placidity of the summer countryside. 


Signed at the lower left, Jutes Dupre. 
Collection of M. Alfred Bergaud, Paris. 


Purchased from the Georges Petit Galleries, Paris. 


CHARLES FRANCOIS DAUBIGNY 


Frencu: 1819—1878 


97—PORTIJOLE 
(Panel) 


Height, 16 inches; length, 2714 inches 


A GREEN landscape of the French countryside in a soft light, with a 
golden moon rising afar on the right before daylight has gone, the orb 
appearing above a low bank of trees and being reflected in the bend of 
a river in the foreground. To left a village church crowns a hill in the 
middle distance, on the border of the stream, and at the foot of the 
hill in the foreground some cows have come down to the water to drink, 
the girl attending them meanwhile resting as she leans against a tree. 


Signed at the lower left, Daunicny, 1872. 
From the Descamps-Scrive de Lille Collection. 
Collection Baron Schoen, Worms. 


Purchased from the Galeries Georges Petit, Paris. 


$4200 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


98—LEH MARAIS: SOUVENIR DITALIE 


Height, 15 inches; length, 2014 inches ~Q¥ y 


Low-ty1ve meadow lands clothed with soft grasses and coarser herbage, 
and dotted here and there with wildflowers in blossom, extend across the 
foreground and toward an open vista at the left, and enclose a marshy 
pool which reflects the white clouds billowing in a light blue sky. In 
the background and at right trees come down to the marsh, incidental 
figures are glimpsed in their shadows, and on higher land a building 
comes to view. 


Signed at the lower left, Coror. 
Collection Mancini, Paris. 
Collection of J. E. Ure, London. 
From the Goupil Galleries. 
Collection A. A. Hannay. 
From Boussod, Valadon et Cie. 


Purchased from the Galeries Georges Petit, Paris. 


JEAN FRANCOIS MILLET 
Frencu: 1814—1875 


99—PORTRAIT DU PEINTRE MAROLLES 
(Friend and Pupil of Millet) 


(Pastel) 
Height, 24 inches; width, 18 inches 


SratEp and leaning back in a high-backed upholstered armchair a 
young artist is observed at three-quarters length, figure to left and 
face turned three-quarters towards the spectator, as he arrests his 
work on a landscape, brush poised and his warmly set palette lightly 
held. He is smooth-shaven and keen-eyed, with loosely brushed and 
bushy black hair, and he wears a grayish-white blouse and colorful 
cravat. 


Signed at the lower right, Mitte, 1841. 
From the collection of the sitter’s daughter, Mme. Bouchez. 


Purchased from the Galerie Barbazanges, Paris. 


$b 00 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


100—LE GROS ARBRE DOMINANT LA VALLEE: 
ENVIRONS DE BOISSY ST. LEGER 


Height, 16°4 inches; length, 26 inches 


On the right a tree of short, large trunk, growing on a knoll, its wide- 
branching and characteristically feathery leafage standing boldly be- 
fore a turquoise sky heavily veiled with nebulous grayish-white clouds. 
To left of it rough green fields, in sunshine, with two peasant women in 
conversation, one seated on the ground and her companion standing ; 
and beyond them a vague and varied distance of country landscape, 
with suggestions of houses and a winding river. 


Signed at the lower left, Coror. 

Recorded and reproduced in “L’CEuvre de Corot,” by Alfred Robaut 

and Etienne Moreau-Nélaton, Vol. III, No. 1895. Painted be- 
tween 1865 and 1870. 
Collection Dekens, Brussels. 


From the Florent Willems Collection. 


Purchased from the Galeries Georges Petit, Paris. 


CONSTANT TROYON 


Frencu: 1810—1865 


101—TROIS VACHES DANS UN PAYSAGE 
(Panel) 


Height, 181% inches; length, 25% inches 


In a corner of a green meadow with a patch of bare earth in the fore- 
ground three cows have gathered at the right, against a bluff that 
bounds the field and is crowned with a dense grove. A white cow stand- 
ing and a white-faced cow of dark coat lying down are in the cool 
shadow of the trees, while nearer the spectator a red and white cow 
stands partly in the shade, with a slant of sunshine accenting the rich 
coloring of its coat over a part of its back. To left in the background, 
in a hollow beyond the meadow, the roof of a thatched cottage comes 
to view, with smoke curling from a chimney, and near it a figure. 


Signed at the lower left, C. 'Troyon. 
From Boussod, Valadon et Cie., Paris. 


Purchased from the Galeries Georges Petit, Paris. 


NARCISSE VIRGILE DIAZ DE LA PENA 


Frencu: 1808—1876 


1022—FORET DE FONTAINEBLEA Ee 
LA MARE: COUCHER DE SOLEIL 


(Panel) 


Height, 18 inches; length, 271/, inches 


A SERPENTINE pool extending from the foreground mirrors in the 
middle distance the setting sun—a golden orb with golden halo, and no 
tinge of red—still well above the horizon in a sky of grayish clouds 
whose edges share the golden glow. In the distance and at right and 
left the trees of the forest, with two outstanding ones at the right, and 
near them in the foreground two girls lying on the grass and amusing 
themselves idly with a pet dog. To left of the pool a farmer with a 
rake on his shoulder, following a pair of oxen. 


Signed at the lower left, N. Draz, 59. 
Collection St. Albin, Paris. 


Purchased from the Galeries Georges Petit, Paris. 


JEAN BAPTISTE CAMILLE COROT 


Frencu: 1796—1875 


1083—PAYSAGE DE LA CAMPAGNE 
ITALIENNE DALBANO 


Height, 32 inches; width, 25 inches 


Ix the foreground, slopes of gray-green grass, with two women in 
colorful Italian costumes seated in the grass beside a gray earthen path 
in which a blue-cloaked man is walking past them. ‘To left of the path 
a rough gray boulder, and to right, above the grass banks, tall cliffs 
with iron-rust stains on their sheer faces and green trees rooted in 
crevices. The path descends to a sunny middleground, where a red- 
jacketed man is approaching, coming through a field bordering a river, 
and beyond the river are distant hills under a fair sky. 


Signed at the lower right, Corot, 1834. 


Recorded and reproduced in “L’GLuvre de Corot,” by Alfred Robaut 
and Etienne Moreau-Nélaton, Vol. II, No. 361. Painted in 1834, 


From the Vriant-Dauvin Sale, 1876. 

Collection of M. Martin, epee of the Mairie du Temple, Paris. 
From the Chailloux Sale. 

Collection Foinard, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


CONSTANT TROYON 


Frencu: 1810—1865 


104A—RENTREE DU TROUPEAU A LA 
15 00 FERME: EFFET DU SOIR 


Height, 261% inches; length, 3734 inches 


In the twilight, with the clouded and darkening sky still banded with 
after-sunset hues, a peasant woman in a blue skirt and dark waist, and 
white overskirt and lace cap, 1s walking away from the spectator, in the 
foreground, driving homeward her sheep and cows. They wend toward 
the left, in a rough road skirting a green pasture, toward a farmhouse 
dim in the distance. To right of the road runs a brook, its dark sur- 
face catching the lights of the sunset afterglow. 


Signed at the lower left, C. Troyon. 
Collection Louis Mantes de Marseille. 
Collection Descamps-Scrive de Lille. 


Purchased from the Galeries Georges Petit, Paris. 


feger 


LEON AUGUSTIN LHERMITTE 


Frencu: 1844— 


105—PECHEURS SUR LA MARNE 


Height, 2534 inches; length, 32 inches 


Curuine gently in its course a small pastoral river winds through 
meadows of a broad valley rich in luxuriant trees and of comfortable 
habitation. Rays of the lowering sun slant across the grass, touch 
distant foliage and dwelling, and are screened in the foreground by 
slender trees of delicate leafage lining the farther side of the stream. 
On its nearer bank, in the grateful solace of the trees’ luminous shadow, 
a mother walking with her young children, approaching some young 
people interested in the landing of a basket of fish from a punt. 


Signed at the lower left, L. Luermirre. 
Exhibited at the Salon of 1920. 


Purchased from the Artist direct. 


por 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


106—LA FUMEE ROSE: NUIT DE NEIGE 


Height, 24 inches; length, 29 inches 


Farm cottages and a haystack, and trees bare of leaves, on rough land 
sloping gently to the foreground, with grass and stack and roofs partly 
covered with snow. The winter night is clear and cold, and illumined 
by an unseen brilliant moon, which marks the shadows of the trees 
boldly on the uneven ground. From the nearest cottage, smoke issuing 
from its chimney shows a soft glow of rose against the moonlit sky. 


Signed at the lower right, F. Cacnoup. 


Purchased from the Artist direct. 


PAUL GAUGUIN 


Frencu: 1848—1903 


107—“BONJOUR, MONSIEUR GAUGUIN” 
(Canvas mounted on panel) 


Height, 2914 inches; width, 211% inches 


Enrerine from the right a hooded peasant girl in blues and mauve and 
wearing sabots pauses at a crude rustic fence, on which she leans as 
she regards the rigid figure of a man standing in a pathway on the far- 
ther side. He is muffled in a great red-brown caped coat over a blue 
jumper and coarse trousers, wears a blue cap cocked over one eye, and 
faces the spectator. Dense herbage, a stone faced embankment, dank 
green fields and scrawny trees form the environment, with reddish walls 
and fields and creamy buildings in the background. 


Inscribed at the lower left: Bonzour, M. Gaueurn. 


A SECOND PICTURE: PAYSAGE DE PONT AVEN 
Height, 2614 inches; width, 181% inches 


On the reverse of the panel is a marine painting, picturing coastal 
rocks of dark and rich hues projecting from the left into a green-blue 
sea, which in lazy motion breaks at their base with a modicum of spray. 
At the horizon a faint tinge of fading sunset. 

Signed at the lower left: Mimr prnxrr, 792. 


Collection of Mme. Marie Henry. 


Purchased from the Galerie Barbazanges, Paris. 


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CAMILLE PISSARRO 


Frencu: 1831—1903 


108—TROUPEAU DE MOUTONS DANS UN 
CHAMP APRES LA MOISSON 


Height, 25% inches; length, 32 inches 


SUNSHINE over a freshly harvested plateau field, sheaves of grain cast- 
ing their shadows on its yellow and green surface, and near the centre 
a stack being piled high, men and women at work at it or resting in 
its shade. In the foreground to right a large flock of sheep coming 
toward the spectator, followed by their shepherd. 


Signed at the lower left, C. Pissarro, 1889. 
Collection of Dr. Marcigney, Paris. 


Purchased from the Georges Petit Galleries, Paris. 


FIRMIN AUGUSTE RENOIR 


Frencu: 1841—1919 


109—_LA BLANCHISSEUSE 


Height, 32 inches; width, 221, inches 


In long petticoat of a soft greenish-blue, with blackish borders, and a 
white underwaist which droops from one shoulder, a robust and rosy- 
cheeked young woman with reddish-chestnut hair stands with arms 
akimbo, momentarily resting, with hands on hips, beside a basket filled 
with masses of white linen. Aerial outdoor background of building and 
woods or garden, indeterminate in detail and coloring. A picture of 
felicitous domesticity. 


Signed at the lower left, Renor. 


Collection Léon Orosdi, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


CLAUDE MONET 


Frencu: 1840— 


110—LE PONT DU CHEMIN DE 
FER A ARGENTEUIL 


Height, 23°4 inches; length, 384 inches 


Traversine the picture, left-right, the blue Seine sparkles with reflec- 
tions of clouds and sky, in brilliant sunshine. On the hither bank, green 
and bordered by a sandy road, two men are standing watching an ap- 
proaching catboat, while another boat farther astream appears under 
the faint shadow of the bridge. On the farther bank, green fields and 
trees and the suggestion of houses. The straight and level, parapetted 
bridge, and its paired columnar supports pearl-gray in sunshine and 
showing violet in shadow, and adding their reflections to the many in 
the water, is relieved by the brown color of the tops of cars of an 
omnibus train which is crossing. 


Signed at the lower left, ChaupE Moner. 
Collection Prince Wagram. 
Bernheim Jeune & Fils, Paris. 
The Galeries Georges Petit, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


fio 


FRANCOIS CHARLES CACHOUD 


Frencu: 1866— 


111I—LE RETOUR A LA FERME 


Height, 25°4 inches; length, 32 inches 


Earty evening on a starry night in the country, and in the background 
houses and barns seen between trees; lights in a doorway and a window. 
Leading forward and toward the right from the cluster of buildings a 
farm road bordered by trees and grass, and in it a man trudging ahead 
of a yoke of oxen, the group in the soft glow of bright moonlight. 


Signed at the lower right, F. Cacuoup. 


Purchased from the Artist direct. 


anelay . : = 


peso 


ELIE ANATOLE PAVIL 


Frencu: 1875— 


112—DANSEUSE ENDORMIE 


Height, 2834 inches; length, 36 inches 


Demi-nue with white drapery and brilliantly colored skirts a dark 
haired young dancer with round and rosy cheeks has seated herself in 
a high-backed armchair, and with one arm extended on the chair-arm 
and the other raised and folded over her head has fallen into a restful 
doze. One arm of the chair stands out, a bright note of gold, the rest 
of the chair is covered with a white-flowered green drapery—a cool 
background for the warm tones of the supple flesh. With figure to 
right, three-quarters front, the young girl’s head is inclined toward 
her left shoulder, her face appearing in profile. 


Signed at the lowert left, E. A. Pavin. 


Purchased from the Artist direct. 


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CAMILLE PISSARRO 


Frencnu: 1831—19038 


113—LE MOULIN DE KNOCKE 


Height, 26 inches; length, 32 inches 


In the fulness of summer, a sultry day of sunshine tempered by cumu- 
lous clouds, white and cream-toned and mauve, over a village of varied 
and modest cottages clustered amid trees and extending to right and 
left of a dominating windmill, which stands on a central mound. Green 
the mound, and the undulant field before it, and but lightly marked 
with shadows from the high sun. Crossing the field in a pathway, 
toward the left, a peasant wheeling a barrow, and near him a stout 
woman coming slowly forward, with arms laden. 


Signed at lower left, C. Pissarro, *94—1902. 


Purchased from the Georges Petit Galleries, Paris. 


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EDOUARD MANET 


Frencu: 1832—1883 


114—FEMME INDIENNE FUMANT 
LA CIGARETTE 


Height, 3614 inches; width, 2834 inches 


Portrarr at three-quarters length of a handsome young woman of dark 
type, seated, outdoors, in transparent cloud-shadow under a lightly 
clouded blue sky, a brighter slant of light falling behind her shoulder 
upon the head of a white horse projected into the picture from the 
right. She faces the observer, turned slightly toward the left, her 
right elbow resting upon a high bank and right hand brought to the 
side of her head, framed in her rich black hair, and in her lips she holds 
lightly a cigarette. Her left hand, arm akimbo, rests upon her hip. 
She wears a dark crimson skirt and black belt; and gauzy draperies of 
crimson and orange overhang her white lawn waist. 


Collection Durand-Ruel, Paris. 

Duret, p. 300, No. 8. 

From the Degas Sale. 

From the Strang Collection, Christiania. 


Purchased from the Galerie Barbazanges, Paris. 


ALFRED SISLEY 


Frencu: 1840—1899 


115—LES NOYERS, EFFET DE SOLEIL 
COUCHANT: PREMIERS JOURS 
D OCTOBRE 


Height, 29 inches; length, 361% inches 


Watnot trees, their green leafage spotted with notes of autumn color, 
stand at the right at the edge of a garden field. Beyond them is dense 
herbage and brush, toward the right, while toward the left a back- 
ground of village houses appears, with trees about them and in the 
distance. In the foreground field a man and a woman are at work. 
The whole in the light of a brilliant fall day hardly ended, with the 
lightly clouded sky iridescent in sunset hues. 


Signed at the lower left, Ststxy. 
From the J. B. Faure Collection, Paris. 


Purchased from the Galeries Georges Petit, Paris. 


CHARLES COTTET 


Frencu: 1863 


116—LES COCHONS 


Height, 29 inches; length, 37 inches 


Gray and creamy houses rambling at right and left of a small sunny 
place, and in the background a grove of dense trees with a church tower 
rising above them. Full in the foreground a sow with a thriving litter, 
brought to market, and guarded by a shawled woman in white cap 
seated at right at the foot of two trees, while other peasant women in 
dull rich colors and the white cap of their province examine the animals 
critically. Back of them more villagers, some of them in discussion 
over a red and white cow which stands athwart the narrowing place. 


Signed at the lower left, Cu. Correr. 

Reproduced in a full-page illustration in colors in the “‘Illustrirte Zei- 

tung’ of August 10,1911, with the title, ““At the Swine Market— 
Brittany.” 


Purchased from the Artist direct. 


LUCIEN SIMON 


Frencu: 1861— 


117—INTERIEUR BRETON 


Height, 45 inches; length, 53 inches 


Ow the tile floor of a cottage kitchen-livingroom white chickens are 
picking food beside a red table at which a peasant sits eating. He is 
facing the right before a window which floods the room with light, and 
beside him a bare-footed girl stands holding a bright-eyed child in her 
arms. A boy stands next her, and at the knee of a seated woman hold- 
ing on her lap a babe which she is feeding with a spoon; these three 
observed below a red-lined series of racks filled with white dishes and 
cups. 


Signed at the lower left, L. Sraon. 


Purchased from the Artist direct. 


Py 00 


EUGENE GABRIEL ISABEY 


Frencu: 1804—1886 


118—LA PECHE 
Height, 321% inches; length, 481% inches 


Low tide in an open harbor of a bleak coast, with a jetty extending 
from the right, and on the farther side a bleak guardian hill. Dark 
storm clouds overhead, their edges gilded by sunset light, and in the 
foreground the light falling upon many fishermen struggling to drag in 
their net from the still troubled waters, the other end of the net held by 
their fellows in a boat hard upon the jetty. On shore part of the catch 
of big fish, and sailboats beached at high tide. Nearly two score figures 
in the composition, many in brilliant colors. 


Signed at the lower right, FE. Isanry, 761. 


From the collection of M. Gowvet, secretary to the Duc de la Valette, 
friend of Alphonse Daudet. 


Purchased from the Galerie Allard, Paris. 


LEON AUGUSTIN LHERMITTE 


Frencu: 1844— 


119—RETOUR DES CHAMPS 


Height, 351 inches; length, 50 inches 


Aw extensive countryside with light fading in the wooded areas, where 
houses appear in the approach of the gloaming, and distant hillsides 
warm and glowing in pinkish orange in the horizontal rays of the sink- 
ing sun; at their foot a village, and in the middleground valley a wind- 
ing stream. Along a broad and open, grayish-sandy ledge in the fore- 
ground, a farmer with his scythe, and a peasant woman carrying an 
infant, walking slowly homeward after the day’s work in the fields. 


Signed at the lower left, Luermirrr, 1921. 
Exhibited at the Salon of 1921; No. 774. 


Purchased from the Artist direct. 


GUSTAVE COURBET 


Frencu: 1819—1877 


120—LA CASCADE: MOULIN A EAU 
AUX ENVIRONS DORNANS 


Height, 311% inches; length, 51 inches 


A rocky hillside breaks from a wood high at the left, and falling away 
toward the right reveals a blue sky in which are a few light clouds. 
From a glen comes a broad stream, descending toward the left in a 
white cataract over the face of rocks. At the foot of the waterfall to 
right the foreground is a green grassy bank, and above this in the right 
of the picture rises the mass of an ancient gray mill, with a sluice from 
the stream shooting over its great wheel. 


Signed at the lower right, G. CourBet, ’68. 
From Paul Foinet pére. 


Purchased from the Galerie Barbazanges, Paris. 


PIERRE PUVIS DE CHAVANNES 


FrENcH: 1824—1898 


pg 2 S00 121M ARSEILLE: COLONIE PHOCEENNE 


Height, 3834 inches; length, 57% inches 
op SC, 4 (4 companion to the succeeding canvas) 


From the right an arm of the deep blue sea indents a hilly shore hardly 
less blue in its distant reaches, under a gray-blue sky, while the fore- 
ground shore, open and rambling and rolling and care-free is bathed in 
bland sunlight. Here numerous figures, nude or in classical draperies, 
are observed variously engaged and freely sketched in, and in the right 
foreground lies a basket of flowers. 


A sketch for the decoration of the Musée Longchamp at Marseilles. 
From the Durand-Ruel Collection, Paris. 
From the collection of Baron Denys Cochin, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


PIERRE PUVIS DE CHAVANNES 


FrencH: 1824—1898 


£2 %100 122- MARSEILLE: PORTE DE LORIENT 
Sh LOG efi. Height, 38%/, inches; length, 57% inches 


(4 companion to the preceding canvas) 


Bivue-creen harbor waters under a leaden-gray sky, but with light 
along the horizon and on land and buildings and shipping in the dis- 
tance 


and on creamy-white square sails mounting high, and on the 
smaller gray sails of lesser craft. In the foreground the spectator 
looks upon the broad open deck of a heavy vessel, occupied by many 
and varied figures in easy costumes of numerous colors, low and soft 
in tone. 


A sketch for the decoration of the Musée Longchamp at Marseilles. 
From the Durand-Ruel Collection, Paris. 
From the collection of Baron Denys Cochin, Paris. 


Purchased from the Galerie Barbazanges, Paris. 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


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LIST OF ARTISTS REPRESENTED 


AND THEIR WORKS 


BESNARD, Paut ALBERT 


Fragilité 


BOCK, THEroPHILE DE 


Landscape and Figure 


BOMPARD, Maurice 


Venice 


BOUDIN, Louts Eucenrt 
‘“Laveuses dans le Port de Trouville” 
Le Port du Havre 


St. Valery sur Somme 


CACHOUD, Francois Cuaries 
La Maison blanche: Nuit claire 
St. Alban de Montbel: Nuit Claire 
La Route de Novalaise: sous la Lune 
Nuit @Eté sur la Route, en Savoie 
Coin de Village 
La Ferme 4 la Lanterne 
Clarté lunaire 
Au Village du Guiget par la Nuit claire 
La Fumée rose: Nuit de Neige 


Le Retour a la Ferme 


CAZIN, JEAN CHARLES 


Paysage des Environs d’Equihem 


CEZANNE, Pavut 


La Chaumiere dans les Arbres 


CATALOGUE 
NUMBER 


81 


86 


CATALOGUE 
NUMBER 


COROT, Jran Baptiste CAMILLE 


Vue d’Oloron 3 
Chateau-Thierry 6 
Intérieur de Bergerie 49 
Village au Bord de la Mer 67 
L’ Etang 70 
Bord de Riviere 73 
La Gardeuse de Vache: Paturage en Picardie, 

sur le Plateau 74 
Gros Arbre au Bord de l’Etang 77 
Etaples 78 
Ramasseuses de Bois dans la Forét de Coubron 95 
Le Marais: Souvenir d’Italie 98 
Le gros Arbre dominant la Vallée: Environs 

de Boissy St. Léger 100 
Paysage de la Campagne italienne d’ Albano 103 


COTTET, Cuar.tes 


Femme dans un Pare 22 
Soleil couchant, Venise 39 
Les Cochons 116 


COURBET, Gustave 
Paysage avec Biches 61 


La Cascade: Moulin a Kau aux Environs 
d’Ornans 120 


DAUBIGNY, Cuartes FRANCOIS 


Paysage: Printemps 5 
Entrée de Village 11 
Lisiere de Foret 12 
Lavandiéeres au Bord de I’Oise (0 


Portijoie 97 


CATALOGUE 


zs NUMBER 
DIAZ DE LA PENA, NarcissE VIRGILE 
Mare dans la Forét t 
Paysage avec Moutons et Berger 8 
Bohémiens 10 
Enfants au Lézard 68 
Foret de Fontainebleau, la Mare: Coucher de 
Soleil 102 
DINET, ETIENNE 
Paysage algérien 44 
Repos de la Baigneuse: Algérie 4.6 
“Le Retour de ?OQued” 57 
DUPRE, Jures 
Vaches a] Abreuvoir 13 
La Chaumiére 64 
Coin de Ferme 75 
Paturage dans une Clairiere 96 
FORAIN, Jean Louis 
Maternité 93 
GAUGUIN, Pau 
Landscape with Figures 91 
“Bonjour, Monsieur Gauguin” (with Paysage 
de Pont Aven) 107 
HARPIGNIES, Henri 
Landscape with Figures 34. 


HENNER, JEAN JACQUES 
Madeleine 62 


CATALOGUE 


NUMBER 
ISABEY, EuGrEnr GaprieL 
La Plage 37 
Le Chateau-fort: Le Duel 41 
La Péche 118 
JACOB, ALEXANDRE 
Bord de Riviere: Un Pécheur 26 
Bords de la Canche: Hiver 29 
JONGKIND, JEAN BERTHOLD 
Paysage: Environs Cote St. André 2 
Bateau amarré 9 
Environs de Rotterdam 14 
Le Fort Rabot au Bord de lIséere. Environs 
de Grenoble 19 
Les Quais de la Seine 20 
Canal en Hollande: Effet de Nuit 66 
LA TOUCHE, Gaston 
Le Rappel 53 
LEBASQUE, HeEnrti 
Femmes -travaillant dans un Pare 27 
Brodeuse assise sur |’Herbe 36 
“Sous ’Ombrelle: La Chiromancienne”’ 52 
LEBOURG, ALBERT 
La Meuse a Dordrecht 23 
Landscape with Figure 42 


L’Kelise St. Hilaire 4 Rouen 85 
o 


CATAIOGUE 
NUMBER 


LHERMITTE, Lton Avucustirx 


La Lecon de Couture 32 
La Messe a St. Bonnet, Bourges 33 
Pélerinage pour ?Enfant malade: Keglise de 
Plain-pied, Bourges 35 
Pécheurs sur la Marne 105 
Retour des Champs 119 


MANET, Enovarp 
“L’ Amazone” 63 


Femme indienne fumant la Cigarette 114 


MARTIN, Henri G. 
Le Pont de Saint Medeére, Aveyron 60 


MENARD, FE. Reni 
Nu a St. Tropez 94 


MILLET, Jean Francors 


Les deux Bergeres 69 
Portrait du Peintre Marolles (Friend and ; 
Pupil of Millet) 99 

MONET, CraupE 
Bords de la Seine 87 
Le Pont du Chemin de Fer a Argenteuil 110 


PAVIL, Envir ANATOLE 
La Rue Lepic, Place Blanche, a Pluie 


(Montmartre ) 18 
Charente Landscape: Near Angouléme 24 
Le Quai national: Les Derniers Rayons de 

Soleil 28 
Jardin pittoresque, Paris 40 


Danseuse endormie 12 


CATALOGUE 
NUMBER 


PISSARRO, CAMILLE 


Portrait of Mademoiselle Murer 80 
La Route: La Maison a Toit rouge 84 
Le Loing 4 Moret 88 
Le Pont sur la Riviere a Osny 90 
Troupeau de Moutons dans un Champ apres la 
Moisson 108 
Le Moulin de Knocke 113 


PUVIS DE CHAVANNES, PIERRE 
Marseille: Colonie Phocéenne 121 
Marseille: Porte de lOrient 122 


RAFFAELLI, Jzan Francois 
L’Arbre au Cap Martin 54 


RENAUDOT, Pau. 
Lev Tiror 25 


RENOIR, Firmin AUGUSTE 
L’Enfant au Polichinelle 82 
La Blanchisseuse 109 


RIBOT, Aveustin THEODULE 


Le Déjeuner du Cuisinier 16 


SIMON, Lucien 


Intérieur breton 117 


SISLEY, ALFrrep 


Le Barrage de la Machine 4 Marly 79 
Route en avant de Village: Seine et Marne 83 
Moret sur Loing: Temps fluvieux 89 


Les Noyers, Effet de Soleil couchant: Premiers 
Jours d’Octobre LI 


CATALOGUE 
NUMBER 
STEVENS, ALFrEep 
La Liseuse rose 15 


THAULOW, Frits 
Riviere 4 Audenarde 55 


TROYON, Constant 


Landscape with Cattle and Figures 30 
Vache et Moutons 72 
Trois Vaches dans un Paysage 101 


Rentrée du 'Troupeau a la Ferme: Effet du Soir 104 


VAN MARCKE, Emu 
La Mare aux Canards 76 


VOLLON, ANTOINE 
Nature morte: Fleurs et Fruits 43 
Still Life 48 


WEBER, ALEXANDER THEODOR 
Marine 1 


COMPOSITION, PRESSWORK 
AND BINDING BY 


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